Wolfhound Century

Wolfhound Century – Peter Higgins; Orbit, 2013

I am blessed to know some really cool people.  One of them is Little Red Reviewer – who loaned me an Advance Reading Copy of Wolfhound Century by Peter Higgins.  The novel was published in hardback in March of 2013.  I had my eye on it from the time I read snippets about it on some “upcoming novels” site.  I really enjoyed this book and I think I will probably eventually purchase a copy.  I am also given to understand that this is the opening book in a trilogy.  I think the next installment is due out in early 2014 (which seem really far away right now).

This book is not for every reader – this is not the sort of mass market paperback novel one picks up at the airport that contains one of the standard plotlines and uses stock characters.  Some people have compared this novel to China Miéville’s writings. I am not comfortable with that comparison, but I can see how some readers might feel there is a likeness.  Miéville is a unique and intelligent author, but I do not think that anything that is unique and intelligent therefore must take after him. The main element that sets this book apart is that the writing style is so unusual.

I really loved the writing style in this novel. I like the way that Higgins developed the setting of the novel; the setting is big, dark, real, and potent.  All of the descriptions used in the novel portray a great intensity.  Some readers have referred to this as “world-building,” again I differ because I feel world building is something less esoteric and more infrastructure related.  World building is making the map of the setting and making sure the physics is “sensible.”  What Higgins does in this novel, however, is poetry.  At no point did I feel that the writing was pretentious or bombastic, but each chapter was very well-written.  This is Higgins’ debut novel, though, and there were a few minor items where the writing is not perfect.  But the drop off is not steep. Overall, Higgins is an excellent writer.

The novel is set in an exceedingly interesting location, a sort of alternative Stalinist-Russia.  The country is surrounded by an immense forest and the terrain and the geography play a role in this novel.  Not merely in a way that maps out places, but in a way that actually infuses the plot itself and affects the characters significantly.   The pseudo-Stalinist Russia of the novel contains the dystopian elements of unending war, a police state, and a huge governmental edifice of buildings and departmental offices.  The weather is cold and rainy and dark.  And the landscape is full of bridges, streets, stonework, and iron.

The Vlast is the regime.  And in chapter 22, Higgins treats us to a scene reminiscent of 1984‘s “two minutes hate.”  In chapter 22, we are told that the main character:

….had looked up synonyms of Vlast once.  They filled almost half a column. Ascendancy.  Domination. Rule. Lordship. Mastery. Grasp. Rod. Control. Command. Power. Authority. Governance. Arm. Hand. Grip. Hold. Government. Sway. Reign. Dominance. Office. Nation.

But the novel is also fantasy. Here is a novel that is really difficult to jam into a genre. It’s fantasy – because it takes place in an alternative historical location, but also because it involves fantastic creatures like giants, golems, and “angels.”  I put quotes around angels because in this novel these creatures are nothing like any typical conception of angels.  Golems, giants, angels, magical properties, dryads – but all of these elements are written seamlessly into the novel so that it seems commonplace and normal and unremarkable that giants are puttering around a pseudo-St Petersburg.  The characters in the novel must deal with the Vlast as well as the supernatural.  This makes for a fascinating read.

Higgins is also, obviously, a very intelligent writer.  He has either done an extreme amount of research or he’s well-educated to begin with (perhaps both).  And it shows through this novel on every page.  There’s a great deal of conceptual apparatus here to play with – but it is all very subtle and seamless.  At no point does Higgins bash the reader over the head with any of these items.  And maybe things will be lost on some readers, or not resonate with others, but there are plenty of concepts that flesh out this novel so that it’s a full piece of literature and not simply a crime novel.  For example, the entire part of the storyline involving the artist Lakoba Petrov is representative of Higgins playing with aesthetics and politics and propaganda.  Awesome stuff.

Overall, this is definitely a five star novel.  It isn’t for children or the average reader – but it is a beautiful selection for those who like word craftsmanship, esoteric and dark settings, and intense storylines.  It really is not often one finds writing on this level – and it’s just super cool that the novel feels like Russia and has some fantasy elements.

5 stars

The Elegance of the Hedgehog

The Elegance of the Hedgehog – Muriel Barbery; Europa Editions

I cannot tell you how pleased I am to be reviewing what I consider to be a five star novel as the first book review of 2013.  After a smattering of so-so, also-rans, and sub-par reads, I was recommended this novel by someone in my family. (Not something that happens often.)  I ordered it from Amazon and got it sometime after Christmas.  The Elegance of the Hedgehog ( L’Élégance du hérisson ) was first published (in French) in 2006 and was translated into English in 2008.  I did not know this for a fact until after reading the novel, but the author, Muriel Barbery, is a philosophy professor.  I say “for a fact” because as I read it – I probably knew this in some subconscious level. After all, what other profession could keep me amused, enthralled, and at points ready to argue.  I have a lot to say about this novel, so settle in!

First of all, it seems there are a lot of people out there who have read the novel and find it pretentious.  They use this word to describe it and then go on to pontificate about how much they disliked it.  I wholeheartedly agree that it is pretentious as heck.  And that is merely one of the reasons I love it.  There are lots of “pretentious” books out there. Let me give some examples:  Wicked by Gregory Maguire, Embassytown by China Mieville, One Fifth Avenue by Candace Bushnell, Persuasion by Jane Austen.  I consider these novels to be in the category of BADLY pretentious, which please note, is not a charming self-assured pretentiousness.  In order to be pretentious in a good way, one must also be arrogant – but, like Kid Rock sings, “It aint braggin’ – if ya back it up.”  Frankly, Barbery can and does “back it up.”

One clue that a philosopher wrote this:  there are direct, short, brutally assertive sentences. Only the mad and confident philosopher dares (particularly in the modern world) to write sentences that actually assert things. None of this wishy-washy ambiguity. No political correctness.  No hedging, weasling, or whining. It’s so refreshing to read – and so comfortable for me to read.  Barbery makes assertions in the sense of she states it how it is and does not care to coddle readers who may disagree. And we are talking about topics like the divine, Art, beauty, and humanity.  You do not have to agree with these bold, frank assertions, but I sure did enjoy reading them for their clarity, brevity, and staunchness.

Throughout the book there are plenty of positions taken by the characters to lead the reader to want to disagree at times with everything.  There is a feeling of nihilism.  I think readers rebel from the bold assertions (and criticisms) leveled from autodidact characters.  And the whole thing offends every sensibility our egalitarian social slumber has forced upon us.

Moreover, this is why the novel had to be French. Only the French (and a philosopher) could possibly have written this work.  Because throughout there are direct criticisms of humanity and social classes.  Indeed, there is a direct complaint against a specific class of people:  namely, the yuppie, the nouveau riche, and the pretentious.  This class of people is presented as inauthentic, insufferable, obnoxious, and self-absorbed in foolishness.  And the fact that these complaints come from a member of the lowest class who is self-taught in higher intellectual pursuits, clearly is reason to annoy readers.  My personal suspicion is that we can discern a great deal about the readers themselves based on their reaction to the book. Naturally, the yuppie (interestingly to whom this book is actually marketed!) will despise it with great rancor.

I’m a blueblooded elitist. I’m a professional philosopher. I harbor a lot of distaste for the yuppie-class.  I absolutely loved this novel.

Do you see what I did there? I described myself in direct assertions. I used words to describe positions that are, at best, uncommon and at worst vex everyone in society. It’s not “polite” or deemed “acceptable” to be a blueblood. Or a philosopher. Or an aristocrat. Or an elitist. I know that. But I am what I am and I would rather not lie and say I am other than I am.  However, I am not foolish enough to think that being a person of these traits is well-accepted in the USA in 2013.  It conjures all sorts of images of Boss Tweed, conservative, Establishment things that irk the WASP who was grown to love American concepts of society and the Protestant Work Ethic.  That being said, yeah, I do not go about flaunting and putting on airs and exhibiting any of these opinions and positions of mine.  I mention this because many reviewers of this novel were unable to fathom why a person would pretend to be dumb or hide their intelligence.

I do it all the time.  One cannot go around being truly intelligent – it rubs people the wrong way. And, of course with great predictability, they call it being arrogant or pretentious. Sort of a damned if you do, damned if you don’t scenario.  You cannot use an extensive vocabulary with your waitress, the gas station attendant, or the cashier. I know – I’ve tried; and gotten the blank looks, misunderstood glare, and the horrible dullard grunts of “hunh?”   So you have to speak the language of the culture you are in. Sometimes, right wrong or indifferent, if you want to function in society – you have to be a chameleon. Among the working man, you blend in and get along.  Don’t worry – it goes in reverse. When among the yuppie nouveau riche one has to be a certain way as well, lest one usurp and undermine their fragile edifice of self-importance. Gradually, with astute care, you can use clues and hints and discover more about your interlocutor – and then adapt and open up the conversation to a broader and more developed one. But it’s a subtle give and take.  Don’t just march up to people speaking without slang. I have a tendency of using archaic words, but they are familiar and commonplace to me. I get a lot of stares of non-comprehension.

A long time ago, in a galaxy far away, I wrote a poem about this. Maybe I’ll share it. We’ll see. I was young and silly. But it makes the point better than anything I’ve said so far.

Anyway, the point is that the novel offends people. Because, I think, only rueful, thick-skinned, intelligent, and witty people can “get” this novel for what it is. After all, before everyone starts calling the author and her characters “pretentious” or “holier-than-thou” or “high & mighty” – there are several places wherein the characters even hack on philosophy/philosophers.  If you don’t have thick skin, stay the hell home. Philosophers are used to twisting words at each other and critiquing everything. We can take it – can you?

All of this aside, I really enjoyed the theme of the novel. I enjoyed the setting, the characters, and the storyline. I enjoyed the writing above all.  Barbery is so dang witty, she had me laughing aloud at several points.  I knew this was a five star novel because I was actually jotting down quotes.  I cannot stop myself from sharing them here!

Ripping on phenomenology (which I, too, dislike) the main character says (pg. 63):

But enough of phenomenology:  it is nothing more than the solitary, endless monologue of consciousness, a hard-core autism that no real cat would ever importune.

…..and another reason I adore this novel is because of the plethora of animal characters. Barbery also understands animals – really understands them (not like yuppies understand anything). And I am an absolute sucker for animals.

On page 92, the young character says this considering her father’s morning breakfasting ritual.  She concludes her thesis a few pages later:

In our world, that’s the way you live your grown-up life:  you must constantly rebuild your identity as an adult, the way it’s been put together it is wobbly, ephemeral, and fragile, it cloaks despair and, when you’re alone in front of the mirror, it tells you the lies you need to believe.

What do we do in the morning?  Papa reads his paper while he drinks his coffee, Maman drinks her coffee while she leafs through catalogues, Colombe drinks her coffee while she listens to France Inter and I drink hot chocolate while reading mangas.  Just now I’m reading Taniguchi mangas; he’s a genius, and he’s teaching me a lot about people.

And another witty and fun quote is from the main character on page 220:

What toilet paper does for people’s derrieres contributes considerably more to the abyss between the classes than a good many external signs.

Now, although as you read the novel, you may feel it is really just a false setting/personae dramatis so that the author can make bold assertions.  It can be accused of that – and I am okay with it. But there is a deeper theme:  that of meaning of life, of Fate, and of Beauty.  And if you don’t pick up on these threads, heaven help us, you will be writing a negative review soon after finishing the novel.  The novel has a somewhat “tragic” ending – but a good tragic. I do not want to give anything away, but know that the ending is both happy and unhappy.  It’s actually a pretty good ending – that you should see coming a few chapters beforehand.

And beyond all that I have already said here:  do not take this novel too seriously.  I mean it. If you do, you are guilty of falling prey to the typical French trickery.  Just like with the Italians, there is emotion and content and bold assertion:  but we are still going to finish our bread and tea and smile like goofy children at the end of it.  WASPs really aren’t gonna like this novel.  Don’t take this too seriously. For your own sake.

Reading this novel has decided that this year will be the year of French.  (Last year was the year of Russian.) I will, obviously, still continue the Russian path, but I really love the French and their constant wrangling and defining of social classes, politics, and society. Vive la France!

5 stars

H. P. Lovecraft – Part Two

This entry contains my comments on H. P. Lovecraft’s stories The Lurking Fear and The Rats in the Walls. The former was written in 1922 and serialized in early 1923. I actually think that The Lurking Fear is a better story than The Rats in the Walls, but I can understand other readers enjoying the latter more.

This story is divided into four smaller chapters, each having their own title:

I. The Shadow on the Chimney

II. A Passer in the Storm

III. What the Red Glare Meant

IV. The Horror in the Eyes

The story takes place in the Catskills in New York. Specifically, the novel takes place on Tempest Mountain. There is a Tempest Mountain in Montana. Also, I found reference to the words “tempest” and “mountain” in the New Testament – I used the KJV, which HPL would have been familiar with. “For ye are not come unto the mount that might be touched, and that burned with fire, nor unto blackness, and darkness, and tempest….” (Hebrews 12:18) I do not believe there is such a mountain so named in the Catskills. However, and this has always amused me, parts of the Catskills were known as the Borscht Belt due to the heavy immigration and presence of Russian Jews. (‘Borscht’ to signify their cultural connection to Russia and the Ukraine.) Anyway, the parts HPL references seem to have a large Dutch population.

Some of this setting-building is important, because it makes the story have a realistic feel to it. For example, the narrator stays at Lefferts Corners, mentions two other mountaintops: Cone Mountain and Maple Hill, and references the city of Albany. One feels that maybe this narrator (or HPL himself) really went to such an area – because maybe it could have really existed.

The main character is again a narrator who is writing a memoir of his experience. The story begins: “There was thunder in the air on the night I went to the deserted mansion atop Tempest Mountain . . . . “ Now, if you are like me, you just speed-read that line. So, go back now and actually read the phrase with the purpose of using it to draw you into a story. I like it as an opening line. I like that there’s thunder, tempest, night, and deserted all in the first line. It is written so fluidly and immediately places the reader in a dark and stormy night on a mountaintop.

Like so many other narrators in HPL, this one is unnamed, but has an interest (obsession) with scary, creepy, unnatural things. Of course, all these narrators have this interest, but then they always experience a horrific and terrifying event which is life-altering and then they are psychological disasters afterwards. HPL can almost be read as a warning: if you go looking into the abyss, when it looks into you – expect to be damaged and messed up! The thing is, of course in the second paragraph the narrator is telling us that he bore the secret of what he experienced for a long time and he’s been brooding about it. He’s the only one that knows the real story of what happened and he’s regretting he has concealed it so long. Well, not to put too fine a point on it: what did you expect when you sought out the bizarre, unnatural, and terrifying?

On Tempest Mountain is the Martense mansion, which was built in 1670 by Gerrit Martense who was a New Amsterdam merchant. He left Britain and began to cultivate a strong dislike toward anything British-culture. He, and derivatively, his family, shun English culture, colonists, etc. So, he and his family become veritable recluses up on their mountaintop, basically surviving from their land.

I do not want to write anything more, lest I spoil this great short story for anyone. What I’ve said so far is really just setting and background. Needless to say, the narrator decides to research and investigate the happenings on Tempest Mountain. Chapters III and IV are really great in terms of the really-scary-stuff we expect and demand of HPL. Seriously, I was impressed. I mean, this story is dated (1922) and from what I’ve read of HPL, a lot of his stories seem to be wordsmithing and presenting the “unknown” as scary. But this story really is scary. Genuine creepy!

I love that the story is not too long, but yet is longer (and therefore more developed) than some of HPL’s early pieces. I find the narrator a bit ridiculous, but the setting and background that HPL puts the narrator in are so creepy and vivid and realistic that it becomes moot to complain about the narrator. Don’t worry, our good friend HPL does use the word Cyclopean in this story!

The Rats in the Walls was written in mid to late 1923. It’s similar, in places, to The Lurking Fear. Both stories are going to talk about the legendry of their settings. Both involve the history of old (ancient?) mansions. Both involve a narrator that is off his little rocker. Both stories use the word Druidic.

The Rats in the Walls has two other characters that are important, though, through the whole story. I feel that The Lurking Fear only barely utilizes another character – mainly as a prop. One of the main characters in The Rats in the Walls is a cat. Now, look here…. I am not going to speculate on whether or not HPL was racist, nor just how racist he was. Simply put: the cat’s name is Nigger-Man. I didn’t name the cat, so don’t take it up with me. I suspect that the cat was black. HPL (and therefore all of his characters) tend to be cat lovers, though. This cat (let’s call him NM), has a major role in the story. In fact, I might actually call him the real star of the show.

HPL was a cat lover – not that I know much about HPL, but it shows through in his writing. He understands cats. I live in a household with four black cats and one tan mix cat. My neighbors have 12 cats. The neighbors on the other side have two. Needless to say, I am also very familiar with cats. And they are definitely as [insert your choice of adjective] as people say they are. They can be so loving and cute. They can also be ruthless and savage. They can also be creepy and eerie and supernatural. I mention all of this to say that NM has got to take his place in the Famous Literary Cats list and that HPL knows how to write the character.

Anyway, I think readers should also read Edgar Allan Poe’s The Fall of the House of Usher alongside this HPL story. There are loose connections between the two. And maybe even slightly with The Lurking Fear. There are hints of Gaelic and Latin in the story. I am not familiar whatsoever with Gaelic or Celtic anything, so I cannot comment much on that except to say I think it provides a variety of connectivity within the story. Also, it adds to the sense of ancient things being at work still. HPL copied the terms from writer William Sharp’s (aka Fiona MacLeod) The Sin Eater. Don’t forget that there’s no way HPL was not influenced by W. B. Yeats – and he was heavy into Irish Mythology. Lord Dunsany of the Celtic Revival also is a major influence on HPL. The point is, this story also strongly develops the setting and background in order to develop the horror of the story. HPL is not just writing horrific slash and gore, he loves to pull from mythology and history and give us a backstory.

Personally, I really liked The Lurking Fear more than The Rats in the Walls. I think readers should decide for themselves and read both – because both are rewarding HPL reads. Both, though, are heavier on the creepy scale than the not-so-scary, so reader be warned. I’d give five stars to the first and four to the latter, but only on personal preference. Overall, both are likely five star short stories from HPL.

5 stars

Batman and Robin #9

Batman & Robin #9; DC Comics

I have not done a review of a comic book in half-of-forever.  I know that there are some “snobby geeks” out there who disdain comic books (or are more selective and merely disdain superhero comic books) arguing that they are not literature.  Well, the thing that I want to insist upon is that no, not all comic books are literature, however, what DC Comics has done in the Bat-titles in “The New 52″ has definitely been literature.  Since the #1 issues in Detective Comics and Batman, DC Comics writers (Scott Snyder, Kyle Higgins, Peter J. Tomasi, and Tony Daniel) have created an epic-story that really deserves all the praise that people have been heaping upon it.  (And, the obnoxious writer of the DC stable, Grant Morrison, has rather stalled out in his titles…)

This review is about Batman and Robin #9.  It’s somewhat of a standalone issue focusing entirely on Robin (the Damian Wayne incarnation).  This issue is, however, entirely connected to the Night of the Owls storyline that has been running through the Bat-titles since their first issues.  This epic Court of Owls/Night of the Owls storyline is huge and has been done expertly.  The writers have, as a whole, really outdone themselves and, I think, given readers a solid example of how and why comics can, indeed, be literature.  Yeah, the whole thing spans (I approximate here) 25 issues or so for the full-impact of the story.  A reader could conceivably narrow it all down to just the Batman and Detective Comics titles, but I think that would weaken the scope of what the writers have done.  In any case, I am not going to get into a lengthy exposition on the Owls epic.  I do encourage readers to consider this stuff, though – it’s really worth it (though it may be a pain in the rear to collect all of the issues.)

Anyway, Batman and Robin #9 is a really awesome issue.  I have actually been surprised at how much I have liked this particular title since The New 52 began.  I loved the first arc (the ramifications will definitely continue throughout future issues) because it explored the relationship between Bruce Wayne and his son – in both a father/son perspective as well as a Batman/Robin perspective.

Issue #9 ties into the Night of the Owls storyarc.  Let us simply say that Robin is dispatched, by Alfred, to protect a target from a villain.  The Court of Owls have sent assassins out to kill nearly 40 Gotham leaders and Alfred sends Robin to protect Major General Benjamin Burrows of the 52nd – who commands nearly 15,000 troops.

I love more or less everything about this issue.  The title of the issue is Robin Hears a Hoo – which is fun because it plays on the Owls storyline and Dr. Seuss.  Dr. Seuss and Batman? Always a win.  And look at this cover because it was done by Patrick Gleason, Mick Gray, and John Kalisz.  It is beautiful.  The perspective is perfect – Robin is a little kid, you know.  The coloring is perfect. The whole composition shows action, depth, no clutter or unnecessary busyness, and an ominous villain.  Perfect.

Inside, the issue contains non-confusing artwork, clean framing, and excellent coloring.  I like how it really feels like we are on a nighttime training exercise in a misty forest. I like how Robin solves the difficulties he runs into.  I also love the scenes where the writer shows us that Robin is not just a stupid punk kid – but is also highly-trained and intelligent. I like how the soldiers react and function.  I also like how this issue gives deeper insight into the total backstory and connection to the Court of Owls.  There is not much to dislike about this issue. It is precisely the kind of issue that comic book fans can collect, enjoy, and happily spend $2.99 on.  And $2.99 is a bargain for the quality this issue delivers.

Batman isn’t in this issue.  And he really does not have to be:  Robin carries this issue all by himself.  And the issue is good.

5 stars

Oblomov

Oblomov by Goncharov; Penguin Classics

Before I even think of commenting on the book, I have to say that the Penguin Classics cover here is decidedly not one of my favorites.  I think it was chosen to suggest the character Oblomov.  In reality, it’s a portrait of Vsevolod Mikhailovich Garshin done by the famous painter Ilia Efimovich Repin.  And I do not think that it suggests the character of Oblomov at all.  I suppose the portrait is fine as it is, but I hate that Penguin used it as the cover image. This goes against all the images I conjured in my head regarding Oblomov.

Oblomov was published in 1859.  The author, Ivan Goncharov, deserves a ranking beside Dostoyevsky and Pushkin. Having read a lot of Russian classics this year, I have to say that this novel was by far my favorite.  I love this novel. Oddly, I feel this is the least known of the typical litany of Russian classics.  Why this is, I have no idea.

Very few readers will be able to handle this novel.  I say this for a number of reasons.  First of all, it’s a very slow novel to read. When the main character takes a hundred pages to get up out of bed – you know it’s going to be a long novel.  But there is also another reason why it is a slow novel to read – one cannot read it every day.  Or, at least, I could not.  Sometimes, life is too busy and kinetic to read this novel and if I tried to do so, I disliked my reading experience.  This is all very ironic once you read the novel.   A second reason that a reader may be put off of this novel is that contemporary society seems to have created minds thirsting for hyperactive, extreme, torrid emotional affairs that zoom past.  Compared to the frantic-ness of everything nowadays, Oblomov might seem tedious.  A third reason is that the time period that the novel takes place in is not one that most people can imagine, much less truly feel inside of them.  Sure, facts and statistics and history books seem to explain this time period, but that is not the same as having sympathy and empathy for the time period.

This novel is about (and not limited to):   love, philosophy of life, the gradual passing of the Russian upper-class, the difference between the European metropolitan and the rural Russian, loyalty, patience, and stubbornness.  Also, there’s a bit of pseudo-autobiographical stuff running through the novel by the subtle and insightful Goncharov. The book is simply divided into four parts.  The main cast of characters is relatively easy to remember and follow.  There is symbolism and plenty of traditional Russian settings, artefacts, and sayings.

As I was reading, I was jotting down page numbers for quotes that I liked.  By page 268, I had at least a dozen quotes. Someday, somewhere, I will probably re-read the quotes and smile and nod and make a sage-looking face.  Goncharov is one of the wisest, most intuitive writers I’ve read.

Readers will probably find the first part of the novel amusing and comical.  The second and third parts they may find tedious and here is where they might begin to misunderstand the character Oblomov.  Finally, the last thirty pages or so present the tragedy, vindication, and uniqueness of the character. Whenever I think of misunderstood characters, I shall think of Oblomov.  He’s not the typical tragic character – he, more or less, gets what he wants in life.  But most people begrudge him this throughout his life.  He has enemies, but somehow through Fate or Grace, he escapes their clutches.  Once one is truly Oblomov’s friend, one cannot ever cease being his friend and being loyal even to the end, no matter what.   The end of the novel is spectacular.

There are some minor things I am interested in:  for example, Oblomov’s manservant Zakhar uses the word “pathetic” a bit.  I wonder what the Russian word is and why the translators chose “pathetic.” I am sure that it is a good word choice – I am not being critical – but it’s not pathetic in the usual sense.  It seems to include a hefty dose of pathos and melodrama to it.  Such a minor thing, but something I am interested in.

None of this really shares why this is such an awesome book.  Actually, most of what I wrote so far might be seen as complaint.  It’s pre-emptive complaining – because I can imagine readers really disliking this book, and somehow, this book resonates so much with me, that I cannot bear the criticism. I want to defend Oblomov and Goncharov.  Why?  Because unlike so many mass-produced and trope-filled novels, this book handles the major problems of life with insight and wisdom.  This one gets to the depth of life and makes the reader quit his haste and learn about another way to live that isn’t manipulating others, clawing at the stock market, or flitting to every social event.  This novel is a magnificent tragedy and absolutely not a tragedy whatsoever.  After reading it, I am curious to see if other readers will praise Oblomov, ridicule him, or mourn him.  That’s the kind of novel this is. And every bit of it takes patience and a quiet room to read.

I will someday die a little bit happier – because I will know that I read the best novel. . . . .

5 stars

Leviathan

Leviathan by Scott Westerfeld; Simon Pulse 2009

It has seemed like this book has been everywhere since it was released in 2009.  I avoided it for as long as I could, and then borrowed it from the library. After reading more than halfway through, I found a copy at a book store, new, for $3.  So I bought it, returned the library copy, and finished reading the novel. I also bought the next in the series, Behemoth, for $4.  I expect I’ll be liking that book, too.

I have never read anything by Scott Westerfeld, but I know he writes mainly young adult novels.  I read the dust jacket on the cover of Leviathan and decided it was worth a read.  I don’t read a lot of young adult novels – I really do not like the “coming-of-age” or “teenage-angst” nonsense. I also do not like teenaged vampires, werewolves, or zombies.  But this novel looked like steampunk and alternate history – two categories I enjoy.

After the first two-hundred pages, I was really impressed with the book.  I am not sure what I expected; probably a very kiddie  “kid’s book” or maybe a boring story of kids dealing with the world that they find themselves in.  Instead, the story is told from the perspective of the two main characters, young teens named Alek and Dylan. The two kids come from different countries and, therefore, different worldviews.  Europe is on the cusp of the War and the war machines from the various sides include the Darwinist “genetically enhanced” machines (which are really animals) and the Clankers and their heavy-industrial machinery. The two main characters are active and involved in matters – they are not just ignorant youth who live in an adult world.

I wish this book was around when I was a young child, I would have really enjoyed it. I enjoyed it now, though, so I am not going to complain.  I do think that it’s target reading age is probably about 12-14, depending on the reader’s abilities.

Some reviewers have not found this book to their liking.  They talk about “tropes.”  Frankly, you just gotta read the book and enjoy the story. Get in the book and read it.  Stop worrying about whether or not it’s literature, truthful to history, or if it uses common themes found in novels.

The pages turn quickly in this novel, though there are over 400.  This is really fun because there are a whole pile of really cool illustrations (by Keith Thompson) throughout.  This is an action book – full of fun, madcap action and adventure.  And the quick-turning pages, the awesome illustrations, and the interesting storyline put the reader right in the action itself.  This is a fun book! Good entertainment and good adventure.

For the record, the Clanker Stormwalker is a very cool piece of machinery that made me think of Warhammer 40k.  Anyway, I want a life-size, working Stormwalker now.  So, maybe the book isn’t the greatest literature and maybe it is written in a style directed at young teenagers.  So what? This is fun and that’s something very important when reading any novel.  I’m giving it five stars because there isn’t anything I would change about it. The characters are interesting, the storyline is involved, the pacing is excellent, and the illustrations are great. Guilty pleasure for adults, perfect fun read for young teens.

5 stars

The Golden Compass

The Golden Compass by Philip Pullman; Del Rey

The Golden Compass by Philip Pullman was published in 1995.  In the UK the novel is titled Northern Lights, but The Golden Compass is the USA title. It is the first book in the His Dark Materials trilogy.  In 2007, a major film was released starring Nicole Kidman, Dakota Blue Richards, Daniel Craig, et al.   The edition of the novel that I read is the Del Rey 1997 edition.

In my edition, the famous author Terry Brooks (Cp. The Shannara series) wrote a short one-page introduction.  I was rather unenthused about reading the novel, but after Brooks’ introduction, I was drawn into reading it.  I do not always read introductions, but I have to say that Brooks’ intro was so encouraging that I plowed right into the book.

I have said this so often during the past year that I am beginning to sound like the oft-mentioned broken record, but here it is again.  You are going to love The Golden Compass.  It is a claim you have heard about other books, and it hasn’t always turned out to be true.  So why should you believe it this time? What makes this such a great book? Let me give you some reasons.

The novel is divided into three main parts with a total of 23 chapters.  The parts are locations wherein the story mainly takes place.

• Oxford
• Bolvangar
• Svalbard

The novel is written with a mellow tone and style that definitely makes it seem like it is fit for young adult audiences.  However, I really do not think this is a book for children or for young adults. I do feel it is a book for adults. My big worry that I was reading some lame children’s book was set aside.  However, the main character of the book is a young girl.  Lyra Belacqua is a twelve-year old orphan of sorts living at Jordan College as something of a ward, but more like a pest.  Her whole life changes because of her penchant for mischief and curiosity; she sneaks into the Retiring Room at the College wherein the masters and scholars are about to receive an important guest:  Lord Asriel.

The story takes place in a parallel universe to ours, in which exists the Magisterium, a body of the Church in that world which guards against heresy.  The neat gimmick of the novel is that human souls exist externally in the form of a “dæmon,” an animal which constantly accompanies his master.  Due to some of these considerations and some other elements, the Church and many Christian organizations decried this novel (and film) calling it atheistic or subversive.  For example, the name of Lord Asriel is probably a reference to Azrael, a name of the Angel of Death in mythology.  However Asriel is also an anagram for “Israel.”  In this manner one can interpret the novel as a criticism against the Church and/or the Magisterium.  After having read the novel, I feel to do this is a bit absurd.  This novel is pure fiction – a fantasy novel.  It does not purport to be anything else.  While some of the terminology or concepts might seem to be allusions to real world organizations and beliefs, ultimately, it is our own perspectives seeing tilting at windmills.  The associations between the items in the book and the supposedly connected items in the real are tenuous and vague.  I sincerely doubt this book was supposed to represent a great treatise against any religion and I doubt it will affect anyone’s faith in any way whatsoever.

I was really surprised to see many of the steampunk elements in the novel. At first, I expected some sort of Hogwarts/Roke Island sort of story.  And, of course, I expected the main character to be entirely too headstrong and foolish.  Also, I was unsure what to make of the dæmons.  In chapter 4, Lyra is enticed by Mrs. Coulter to go to London.  Mrs. Coulter is one of those immediately dislikeable characters that somehow we all know in real life.  She’s conniving and manipulative, but shines in her role as socialite and gadfly.  Of course, as a reader I was drawn into the story at this point, really not liking what Mrs. Coulter was trying to turn Lyra into.  After this section of the book, I realized that Lyra was not going to be the bratty, dim-witted child that I thought I would have to suffer.  Instead, Lyra develops into a really well-balanced, courageous, and reasonable creature.  And maybe that’s actually the biggest fantasy in the book – it is probably impossible for any twelve-year old to be so reasonable.

As the story progresses, more elements of steampunk occur.  There are a number of noble-souled individuals who help Lyra along, but she is often left to her own devices relying on her own wits to problem solve.  I really like the characters of the bears and the witches. (I did mention this is fantasy, right?)  Bears who talk, run kingdoms, build armor, and who have a deep code of honor are really neat things to read about.  And I admit, I got attached to the character Iorek Byrnison, an exiled bear.  I think the book had a great balance of steampunk, fantasy, realism, and science in it.  Around halfway, I was thinking I might be giving the book four stars.  However, after finishing it, I realize I would be withholding a star for no real good reason.  Compared to the other books I have read and rated, I think this deserves the five stars – even if it is not a story that would interest every reader.

5 stars

 

The Warded Man

The Warded Man by Peter V. Brett; Del Rey

The Warded Man by Peter V. Brett was released in 2008 in the UK under the title The Painted Man.  At this time, I believe it is the first in what is going to be a five-book series.  It’s Brett’s first published novel. The edition I read is the Del Rey 2009 paperback shown in the picture.  The cover to this edition was illustrated by Larry Rostant.  For whatever it’s worth, I think this is a very cool cover because it not only looks good, but it does precisely what a cover should, viz. make you want to read the book!

My edition was 453 pages and is divided into four sections.  Frankly, the sections are somewhat unnecessary, but it makes the reader feel good when they reach a new one.  The point of view of the narrative changes every so often – if there is a rigid pattern, I confess that I missed it. Unlike many books that utilize this technique, it seemed very natural and seamless in this novel. Sometimes this technique can be jarring or interrupting.

I am giving this novel high marks for a whole lot of reasons. It is well written and does not make any of the mistakes that other fantasy novels make, nor does it fall into any of those annoying patterns so well known in this genre. In general, I think it is probably only a four star novel, but I am so very impressed with the novel and author, I have to boost it to five stars. The cover is great – and the title is great.

When I first started reading the novel I was rather skeptical and critical.  I felt the author was going to tell us a very rudimentary fantasy story.  I judged too soon.  I was skeptical about reaction to the corelings – it just seemed contrary to every aspect of human ingenuity and creativity that after hundreds of years humans would board themselves up at night from the corelings.  And then, the fact that story opens out in little village hamlets in the typical rustic and rural setting so common in fantasy novels made me feel like this was just going to be another one of those fantasy novels.  So, a young kid from the farm becomes unlikely hero and goes on quest. You know, the storyline of most fantasy novels.   But that’s not what happened here, per se.  I read onward and followed the characters to the cities, through their apprenticeships, carefully watching their development.

The characters in this novel are all likeable and, to me, they seem realistic. By this I mean, they are not whiny brats, nor are they just awesome amazing heroes. They develop and learn from their experiences.  The author does this so well, it’s very impressive.  Unlike many other novels in the genre, the reader does not get dragged through every day of the lives of the characters. Nor is every little scene filled with metaphors, descriptives, and unending tedium.  Everything that happens to the characters is not drawn out into fifteen chapters. The reactions of the characters are reasonable and probable.  The characters are all different, but do share the elements that make them important to a fantasy epic. I did not hate any of the characters in the book – even the bad guys. This is an important point because there are many deaths in the book. It’s hard to explain what I mean by my next statement, but I will try:  their deaths seem natural.

Some books/movies just kill a character suddenly in order to create interest or shock the reader. (Think of the many deaths of heroes in comic books.)  Usually, deaths in books are long drawn out attempts to prey on the reader’s sympathies.  Sometimes they are sudden and rather jarring, making the reader wonder if the death was really meaningful or reasonable with regard to the storyline.  In The Warded Man, several characters die – but it never seems forced or random.  And while the reader has built up some sympathy, the deaths seem well-placed in the storyline and not just for the sake of killing characters. Also, it keeps the novel from having a ridiculously overpopulated character list for the reader to juggle.

The three main characters, Arlen, Leesha, and Rojer, are fun and likeable. They make their mistakes, but show independence and they tend to not make the same dumb mistakes over and over.  Leesha is the main female character and she’s really a good character because she seemed the most realistic of all the characters.  It was obvious the author wanted Leesha to be strong-willed and heroic, but unlike many novels, the author was able to develop the character with tact.  Sometimes character development is just too heavy-handed and overbearing.  Leesha is an example of how a female heroine should be written.

But Arlen is my favorite. I want to be Arlen. Well, no not really.  But I think he’s a very cool character.  In his timeline he has willful moments, naive moments, and finally he is struggling with his idealistic feelings while living in the harsh reality that he understands. He has a shaved head! This is cool – because in all the fantasy epics I read, the male characters run around with long, flowing locks. Arlen also makes wise choices. He learns from his mistakes and grows as a character. One of the mistakes in fantasy novels is that the characters continually make the same mistakes, chapter after chapter, book after book.

Finally, what is known as “world-building.” Some readers seem puzzled as to if the world is an alternate version of our world. I did not really wonder this or puzzle over it. It is a world, with some similarities to ours. The author does an excellent job of world-building. Without pages and pages of exposition, the author lays out the map of the world nicely.  Hamlets, cities, deserts, and mountains are all present, but I did not have to read endless prose about what it all looks like. I guess one would say the reader is immersed in the world and is shown, not told.  This is how to build a world.

5 stars

The Lost Fleet: Dauntless

The Lost Fleet: Dauntless by Jack Campbell; Ace

I did not know what to expect from this novel. I both like and hate the military science fiction genre. Some books are very “HALO” about it – run around, make big explosions, scream orders at troops, babble about farcical futuristic weapons. Some books are tedious and think that a military science fiction novel is something like an alternative history novel about the dawn of artillery except in space.

This novel, published in 2006, is very good and is not at all one of those two extremes I mentioned above. This novel is perfect for everyone who loves Star Trek, Battlestar Galactica, and Babylon 5.  Basically, it’s somewhat of a combination of the three.  It’s a short novel; 293 pages make it a comfortable read.  Sometimes the word “space opera” is thrown around (I have yet to truly discover the precise meaning of the term), but many science fiction books are cresting 500+ pages these days. While I love me a good tome, I really truly appreciate the under 300 page novels. It forces the author to tell the story and not get lost in his own verbosity.

I read the first two chapters and did not fall immediately in love with the novel. In fact, I was mildly worried about where we were going. However, as I read onward, the characters became more personal and interesting and I cared about them. There is no sex! There are no political diatribes.  This book is about the Navy and the tactical realities of the Navy in future space.  There are two entities (so far): The Alliance and the Syndics… they have been at war for over 100 years.  Black Jack Geary has just been “rescued” from his long lost escape pod that was losing life support. He’d been in “stasis” for 100 years. During that time, the Alliance had turned his exploits into legend. Geary is “rescued” but tossed amidst the current battle of the Fleet deep in Syndic space. Events transpire that would make him suddenly Fleet commander!

We follow the thoughts and actions of Geary – who is a true hero.  The author develops a very classic-styled hero in the form of Geary – a man who does not want to be a hero, but because of this humility and integrity, is actually the very hero that the Alliance needs.  As Fleet commander, he has many tasks:  fighting the Syndic, honoring his ancestors, leading the Fleet, balancing his Fleet-mates, and figuring out his place in a Navy that he has been absent from for 100 years.

I say people who love Star Trek and Babylon 5 will love this novel because the exploits of Geary are very much like following the adventurous Captain Kirk and the noble Captain John Sheridan.  However, none of the “hokey” aspects of either show are present here in this novel. And the supporting characters are well-developed. One of the best things that the author does is to create realistic interactions between the various members of the Fleet. These relationships are complex and interesting and constantly affect the overall plot, which is really neat. And, keeping the book under 300 pages, allows the plot to move and engage the reader.  We do not spend whole chapters just floating through hyperspace while the author bores us with future concepts of kosmic import.

Another thing that the author does excellently is to really parse out the intense tactical maneuvering of the Fleet ships. Tactics and Naval formations are key to the plot of this novel and the author presents them in ways that are absolutely not tedious or “mechanical.”  It’s downright interesting and edge-of-your-seat. Fun and engaging! One of the more interesting concepts is “time-late” and it is seamlessly worked into the novel. This concept is how a Navy Fleet manages to maneuver through vast areas of space and deal with the spatial-temporal realities of such. For example, how long communication, light, movement takes when dealing with massive distances. The reader is not over-teched by this stuff, but learns to appreciate the significance of this problem.

My only complaint is the front cover art. The artist was Pat Turner. I really dislike it – I hate the way the figures are drawn and I really do not see this cover as connected to the interior story. Do not judge the book by its cover. I am definitely going to read the next in the series. I have to find out what happens! I give it 5 stars – for everyone who loves Star Trek. For those who do not love Star Trek, this book is a solid 4 stars. I love Star Trek.

5 stars

False Gods

False Gods by Graham McNeill; Black Library

After having read and completely loved the first book in The Horus Heresy series (Horus Rising), I was really excited to get into the second book.  Horus Rising was fantastic and in this blog I gave it five stars. I do not give out five stars for novels very often.  Horus Rising was written by Dan Abnett, whom I am starting to really love. This book, False Gods, was written by Graham McNeill. So, even though I was anxious to dive into this book, I had all the usual concerns one would have:  oh, sequels are not as good, and oh, it’s a different author and he won’t be able to write as well, etc.

False Gods was released not too long after Horus Rising. I think they were probably published at the same time and just released a bit apart on purpose.  False Gods was released in June of 2006.  The third book was released in October 2006.  Obviously, these first releases were kept close as a sort of beginning trilogy.

At first, I felt okay with McNeill’s efforts. Then, I got a little nervous as I felt that the novel was wandering and sputtering slightly – so, of course, I panicked. But, as I read on, all the little threads started to tie together. The meandering tributaries joined up and we hopped into a roaring river.  Rest assured, McNeill is as capable and skilled as he needs to be to have written this novel.  Dan Abnett’s novel was excellent and so is this novel.

Even though I am a Warhammer/40k fan, I can truthfully state that anyone unfamiliar with that universe can hop right in to the Horus Heresy novels. They can and they should – this is science fiction war-drama that is probably the best ever written. I honestly cannot think of a reason why a reader would avoid or hesitate to read this series. This is a mighty recommendation I am giving and I, myself, cannot wait to get my paws on the third book.  The cover for False Gods was done by Philip Sibbering.

False Gods continues where Horus Rising left off, more or less. There are several points in the novel where I had to stop, close the book, and just worry and fret about the characters. Or sometimes sniff my nose at some of the sad or touching parts. When Horus hollers at Maloghurst, I felt the intensity. When Horus honors Maggard, I felt his pride and joy. As Loken despaired when Horus fell, I felt the panic and confusion. Finally, when Angron tore through the planet – I felt how horrific and terrible he is. So, judging by reader reaction, I am quite certain this book deserves high marks.  As far as the storyline, I was pleased. We have been following the exploits, in the main, of Loken and this seems to work well. Finally, things come to a head regarding the purpose and utility of remembrancers. The results of Erebus’ actions are continued from the previous novel and they form the backbone of the story in this novel.

But Horus. What can be said about Horus? And what can be said about the Emperor? I don’t know who’s side to be on. I can’t believe Horus! But then, how am I so certain about the Emperor, when I have never met him and know nothing about him, save what Erebus has said?   Like I said, it is imperative to get book three as fast as possible. If you buy book one, you should probably get the next two so you can keep right on reading along. The reader gets their money’s worth and the paperbacks are handsome enough to be on a shelf decently and properly. The font, used in most texts from Black Library, is easy to read and clear.

5 stars