Monday, November 21, 2011

"The Day Of The Triffids" by John Wyndham; 7/10

Read By Graeme Malcolm

This is a completely original and fun post-apocalyptic novel, and there really isn't anything else quite like it.  A man wakes up to discover a world in which 1) nearly everyone else is blind and 2) predatory plants are slowly killing the blind masses, before they'll even get a chance to die of starvation. Does that sound like anything you've ever heard of?

The most gratifying thing about this novel was the intelligence of the protagonist. Isn't it nice when you have a main character who is actually not stupid and constantly doing things that make sense to do, rather than your standard Harry Potter type prot who constantly ignores your readerly screams of "JUST TELL DUMBLEDORE" etc.

You've seen movies that make you afraid of that one thing. Psycho made you afraid to shower, Jaws made you afraid of the beach or sharks or whatever. If you read this book, you may never look at plants in quite the same way again. So I guess I recommend it for all of the gardeners out there.

John Wyndham is a very unique and original voice in science fiction, supremely English and bringing a certain amount of charm, wit, and irony to the work that his contemporaries certainly lacked.

This novel was most endearing, and Malcolm's reading was spot-on. I wasn't blown away or anything, but I thoroughly enjoyed it and definitely recommend it. Just because I read a lot of 10s in this period doesn't mean that a 7 isn't still a "really like" on my original scale.

This is the first book that I read on my iPod with the book as an Audible download, both thanks to the gifts of mother, father, stepmother, and girlfriend, and orchestrated by the latter. Thanks everyone, and especially girlfriend! Many more of those to come.

Tuesday, November 15, 2011

"Who Goes There?" by John W. Campbell; 8/10

Which most of the world knows better as the sci-fi novella which inspired the films "The Thing.. From Another World," and "The Thing." 

A team of scientists working in Antarctica, and therefore secluded from the rest of the world perforce, come across an alien craft with a frozen alien life form intact.  After some debate, they thaw the alien, and the real fun begins.

It is really amazing to me how ahead of its time this book was.  Published in 1938 in Astounding, it is brutal and realistic (sci-fi concepts aside) at every turn in ways that you just don't often see in writing from that period.  Campbell has really tried to imagine how people would behave in such a situation, rather than how he is going to make them behave, and this, to me, is the mark of good writing.  The premise is one of the greatest in the annals of the genre, and he does not let it shy away from its awesome potential.  The only thing missing from this story was more length, which John Carpenter's mostly-faithful 1981 adaptation restored to it.

This was a surprisingly good read, and my first direct experience with someone who may be the most important figure in the history of science fiction, and is undoubtedly the most interesting.  There are two prestigious science fiction awards, for best new writer and best novel, respectively, named after him.  Campbell had a background in science and particularly physics, with degrees from MIT and Duke in the field, but turned them towards science fiction, and began publishing short stories.  The best of these, including "Who Goes There," were published by Astounding Stories, which subsequently hired him to be its editor. 

In capacity as editor for Astounding, Campbell published early stories by the royalty of Golden Age science fiction: Clifford D. Simak, L. Ron Hubbard, L. Sprague Du Camp, Poul Anderson, Jack Williamson, Lester Del Rey, A.E. van Vogt, Fritz Leiber, Theodore Sturgeon, Frank Herbert, Arthur C. Clarke, Robert Heinlein, and Isaac Asimov. 

Not only did Campbell give these men their livelihood by publishing their stories, he was very involved in the conceptual and stylistic development of their stories and of most of these men themselves as writers.  He was to science fiction as Miles Davis was to jazz music, which is to say that nearly everything that happened afterwards, if not directly influenced by him, was touched in some way by his influence. Asimov said of him that he was the "most powerful force in science fiction ever." He probably knows something about that.

Campbell is also interesting because he was, by all accounts, an extraordinary and eccentric person.  There are a number of accounts given of him by the many writers of his acquaintance, and they paint pictures that often only agree on the point of his having been very out there.  Having built a stable for Astounding by the beginning of the Cold War which included nearly every important sf writer of the period other than Ray Bradbury (who sought publication with Astounding repeatedly and was rejected), he then proceeded to drive them away in the early fifties. 

His publication had been the only good way for a sci-fi writer to make a living until this decade, but then new publications began springing up, and this happened as he trumpeted his own views on slavery (not so great) and psionics ever louder, and began pushing the metaphysical concepts of his favorite writer, L. Ron Hubbard, on the other people of his acquaintance.  It is an interesting postscript to his insanity that while he undoubtedly helped make these men famous, many of them achieved their greatest fame and did their best work after leaving his association. 

But "Who Goes There?" preceded all of this, and is a poignant reminder that before he was a figure, John W. Campbell was a great writer in his own right.

Also, I am now halfway from the beginning of my book diary to the present day. Hooray for catching up!

Monday, November 14, 2011

"The Best Of Philip K. Dick, Vol. 1" by Philip K. Dick; 7/10


Read, Variously, By Anthony Heald, Paul Michael Garcia, G. Valmont Thomas, Scott Brick, and Malcolm Hillgartner

The stories in this collection were:
"The Preserving Machine"
"The War With The Fnools"
"The Electric Ant"
"Autofac"
"Progeny"
"The Exit Door Leads In"
"Novelty Act"
"The Last Of The Masters"
"A Little Something For Us Tempunauts"
and though it was not in this collection,
I read on the side and briefly review with the others
"Adjustment Team"

I don't know who decided to connect the bulk of these stories with the title "The Best Of Philip K. Dick."  Maybe the same person who decided to divvy the voice acting duties by story between such a widely varied group of actors.  I'm not going to talk about the latter, except to say that this was my first small taste of Scott Brick, my least favorite narrator.

These stories are a very mixed bag.  Taken from his early career, the represent both the authors genius and his insanity, as well as his inconsistency of thought, quite well.

On the lower end of the spectrum we have "The Preserving Machine," a simple techno sf idea with a simple conclusion; "The War With The Fnools," a fairly silly space invasion that feels just paranoid enough to be a Dick; "The Electric Ant," one of his lesser reality-questioning premises; "Novelty Act," which feels too disorganized to convey the disparate ideas which constitute it, and "Last Of The Masters," a bit of anarchistic thinking in sci-fi clothes.

In the middle range you've got "Autofac," which was read by the best of the narrators in the collection (I can't remember which), which is a fairly fun and exciting story that has a bit of kinship to Dick's classic "Second Variety;" "Progeny," a robot story of alienation and disaffection that inspired an idea I haven't had yet but will someday; and "Adjustment Team," one of Dick's better "is reality really real?" paranoia stories.

[Here's young PKD. He wrote most of his short stories in the fifties as a young man before switching to focus on novels, but he kept writing one or two a year until he died.]

Lastly, there are two absolute essentials here, "The Exit Door Leads In," which I quote often, and which influenced my political thought in some quarters, an excellent anti-government paranoia story; and "A Little Something For Us Tempunauts," a time-travel story that scares the fucking shit out of me. 

What are your fears like? Mine have been science fiction fears since I was old enough to develop that part of the psyche which creates life-lasting fears (I think 10-11 or so).  Thanks to "Alas Babylon" and "Fat Man & Little Boy" my biggest fear is nuclear radiation, thanks to "Alien" and "Black Hole" (the Disney film) to my second biggest fear is outer space, and thanks to "Terminator" and "Sphere" my third biggest fear is time travel.  Robots merit an honorable mention (thanks to "Blade Runner" and "Terminator 2"), but when I have terrifying nightmares, these are the things that populate them. If you want your kids to be afraid of something more interesting than your typical spiders, snakes, bats, etc, show them sweet sci-fi movies when they are 10-11 years old. Success guaranteed. 

As such, "A Little Something For Us Tempunauts," in which time travelers find themselves caught in a possibly-inescapable temporal causality loop, was just terrifying to me.  The ending though, gives you that Phil Dick ray of ambiguity which just really makes this story stand out to me.  There is a ridiculous amount of pathos in this story out of nowhere.  Loved it.

Mixed bag here. If you really want what the title suggests, find that other short story collection of his that I already reviewed, "Minority Report."  If you want more after that, you've got the rundown on these ones above.  Worth a gander, though if you have wacky fears it may disturb, but mildly.

"The Final Solution" by Michael Chabon; 7/10

This is a bit of an oddity.  I think it would have been hard for a book of this length (novella) to live up to the expectations of someone who read all of the Sherlock Holmes stories as a boy and who had just conceived a huge admiration for the writing of Michael Chabon. I was such a person.  I did thoroughly enjoy the book, it just doesn't really register the way the first two did, though it was both written and read lovingly by people who knew the source well.

This is Michael Chabon's long-form Holmes story (Holmes isn't mentioned by name, but if you are a fan, you spot him through a number of hints) set when the famous detective is living out his life as an old beekeeper in the south of England during WWII.  The plot entangles Holmes in both Holocaust history and spy intrigues, and is a lot of fun.

Someday I think I'll give this book another go, hopefully in audio.  I probably read it too quickly, and a narrator helps you pace better and pay attention to the words more. Anyways, that this is my least favorite Chabon so far says more good things about Michael Chabon than it does bad things about "The Final Solution." Recommended for Holmes and Chabon fans, but with tempered expectations if you happen to be both.

Hey there Michael Chabon. Looking writerly.

And for amusing measure Chabon and his buddy Jonathan Franzen on the Simpsons. Good ep. lolz and so forth.

"Gentlemen Of The Road" by Michael Chabon; 9/10

Read By Andre Braugher...

AKA Detective Pembleton from the show "Homicide," a dude who has a marvelous voice.  Just as I think there is some special quality that certain English voice actors bring to the table that Americans just can't hope to match, it is my provincial belief that nobody can bring gravitas with a voice quite like an aging black actor.  Braugher, though less well-known than Morgan Freeman, James Earl Jones, or Ossie Davis, has some quality of voice that brings a number of qualities to this audio book.  It took a little getting used to, especially given the setting of the book, but he just kept growing and growing on me right through the final line.

Speaking of the final line, here's an interesting literary point to consider.  I find that I far more often remember an opening passage of a book that I find memorable, even though the reading of it is farther removed from the present by time.  The number of opening lines I remember with great clarity ("Neuromancer," "1984," "Lolita," "Moby Dick," or anything by Charles Dickens, for example), vastly surpasses the number of books whose closing line I can recite.  Yet I think I find the instances of the latter far more satisfying than the former.  Whether this is because the bar is higher, the instances are rarer, or because I find a good more important than a good beginning I couldn't say. Consider, for a well-known example, "The Great Gatsby." I just find that last line so moving and profound in a way these other examples don't quite reach.

Anyways, as you may have by now guessed, I loved the final line of "Gentlemen Of The Road." It was probably the best line in the entire book, not that there was any shortage of good lines, but it happens to be a doozy of a closer.

Chabon is a major believer in tearing down the walls which have separated genre (mystery, sci-fi, fantasy, adventure, romance, etc) from the sacred garden of "literature."  In this attempt he is not alone, and I would say that with Susannah Clarke and Neil Gaiman, among others, he has already succeeded in eliminating whatever of such distinctions ever existed for me.  Chabon is special, however, because he first made it as a literary establishment type and then wrote genre things- so the literary world subsequently took notice.  This novel(la) was originally published in four parts in the New Yorker.

"Gentlemen Of The Road" was originally titled "Jews With Swords," and is Chabon's swashbuckling epic story in the vein of an Alexandre Dumas book, except set in the hitherto-little-explored (as far I know...) regions of Kazarian history.  It is an easy and quick read, which seems unchallenging in its subject, and yet goes deeper than you think it possibly can over and over again.  The two protagonists are of primary utility in this regard, and I still think of them as imaginary friends with whom I shared a great adventure years ago.  Braugher, too, was of great assistance in helping me appreciate the belied complexity of this work.  Thanks, Detective!

I will definitely be rereading this book. If you give it a first time, Braugher's reading is strongly recommended.

"The Yiddish Policemen's Union" by Michael Chabon; 10/10 [H]

Read By Peter Riegert

If you don't believe in love in first sight, you can't have been there when I began reading this book.  It was immediate, like electricity.  I was totally hooked.  The author had me, the characters had me, and the audio book narrator (one of the best matches to subject I've ever encountered) had me.  None of them let go; if anything, they improved as I went along.

Chabon is just a genius.  He writes so fucking well- I see what he is doing, I understand what he is doing and how, and yet I still can't comprehend it.  His vocabulary is astounding- there are numerous words used in his books that I couldn't even find in the dictionary. But they are somehow still real words! The internet has them.  The first time I ever used the term "man crush" it was to describe how I feel about Michael Chabon and his writing ability. 

This novel is set in an alternate world in which Jews were relocated in America during WWII to their own segregated province in the Aleutians.  Within that setting (which qualified the book for a Hugo, being alternate history, grumble grumble grumble) there is a noir plot of at once classic and bitingly original dimensions.  The characters, plot, themes, setting, language, writing- all of it flawless.


 If I had an 11 point scale for that occasional 10 that went above and beyond, this book would make that cut.  Perfect 10 out of 10 feels like faint praise for such a brilliant book.  Consider all of the authors I've read and reviewed for this list, and know this: for the first time yet, the next two books I review will be by that same author.  I really don't do that often.

I can only come up with so many synonyms for good.  This one is a true diamond.  Read the book, people.

Sunday, November 13, 2011

"Frankenstein" by Mary Shelley; 5/10

Read By George Guidall

"Or The Modern Prometheus" to give the novel it's first title.  So, interesting factoid, this is often considered to be the first science fiction novel of merit.  I HATED it.  Was that interesting?

I suppose that if "Time Machine" was dull and generally underdeveloped, at least it wasn't actively bad.  I can't think of very many more detestable protagonists in literature, and I suppose that was intentional, but it just made me loathe the idea of even turning on this book to listen to it.  I found essentially every twist or other movement of the plot to be entirely contrived.  There was pretty much nothing that felt organic in this novel.  Shelley was only 21 when she wrote it, so I suppose she may be forgiven for this, but grudgingly.

There is a point in the novel when the narrative has become a story within a story within a story within a story.  I'm not even exaggerating that! At least the movie had interesting people with pitchforks and torches screaming and caring about what was going to happen in a rationally irrational way.

This book was nearly 100% bitching.  Narrator bitches, then turns it over to protagonist who bitches, then turns it over to monster who bitches, then back to narrator, and so forth.  The protagonist ran out of synonyms for the word "tortured" to describe his emotional state early on, and thenceforth recycled them with great rapidity. The "monster" was just droll. If I had been the character listening to him telling the story (within a story within a story) I'd have politely asked him to come to the fucking point many times. So...


Fuck this book.  It was awful.  You've got one great idea (see the 5 rating! see the 5!) that inspired tons of cool things later and made it important as a work of SF and as a work of romanticism. Fine.  The book is still terrible, and I hope very much that I never take it into my head to read it again. 


George Guidall was not as bad as the book, but I just don't care for his tone of voice.  I first thought maybe it sounded like whining primarily because most of the dialog was whining, but actually even descriptions of scenery sounded like that.  Didn't care for his reading at all. Want to spend your Frankenstein time wisely? Watch Mel Brooks' "Young Frankenstein," or the classic horror film "Bride of Frankenstein."

Any way you cut it, if you can...


AVOID!

"The Sun Also Rises" by Ernest Hemingway; 9/10 amended to 10/10

 Read By William Hurt

"What profit hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to the place where he arose." -Ecclesiastes

I put that there (with text from the King James version) because it is interesting to consider how this epigraph and title relate to the characters and their story.  The other epigraph is the one which literary critics have fixated on from the time of the book's publication: "You are all a Lost Generation," - Gertrude Stein.

This novel established Ernest M. Hemingway as a famous writer, and perhaps as a voice of his generation, and it deserves its reputation, though I don't think it is his best work (see earlier entry, "Whom The Bell Tolls, For").  I think I'd maybe have given it a 10 if I'd read it first (well apart from high school, where I read it but don't remember having read it), but coming second it feels a little short and a little lacking, I think.

"The Sun Also Rises" has so many different interesting themes and points and characters.  I read it as a tale of a man searching for answers which he knows on some level he will never get.  The book is, in a roundabout way, also an epilogue for WWI, though it barely mentions that greatest of conflicts at all.  It is a monument to Hemingway's genius that he was able to say so much about the war without ever explicitly saying anything.

I relate to Hemingway like the dickens, especially to his protagonists.  I feel like I share a lot with them, and perhaps with Jake Barnes most of all (minus the injury).  The way in which he travels from city to mountain to country to event to person happy and relishing in them but still unsatisfied somehow, still looking for something, anything, felt at times like Hemingway looked inside my soul and extracted it into a book.  Jake is a fascinating protagonist because he so rarely pronounces judgment, but when he does it hits like a hammer, and here again I feel like I strongly relate.

The relationships between Jake and Lady Brett and the rest of the crew are only just secondary to me, but I find them wholly realistic and fascinating.  Really much of the give and take reminds me somehow of college, both of my own experience of it, but moreover of a generic college life.  Does that make sense?

Hemingway is also brilliant at conveying place and time, and in this case the places involved are Paris and Spain in the 1920's.  You read this book and feel not just like you've been to the places, but like you understand them.  You also understand trout fishing (which I have always wanted to learn how to do, thanks to this book) and bullfighting (which I have less than zero desire to ever witness).  EMH's books are written with such a short, direct, realistic style and yet I wind up romanticizing each one of them in its own way, and the things involved, just as I'd be willing to bet he did himself after the fact. 

I have done something most unusual here.  I have talked myself into a rating change in the review itself.  I love this book and relate like hell to it, I think it is brilliant, and the narration was even wonderful too.  By all previous measurements, we are talking about a 10 with these considerations. William Hurt's narration was excellent, though I wouldn't mark it in the upper echelon, but rather near it.  He'll do, and do well.

I love Hemingway!

"The Time Machine" by HG Wells; 6/10

Here we again see a big problem for any would-be reviewer.  Do we review a book based on its own merits through our own eyes? Do we include how important it was to contemporaries, or calculate for influence on subsequent work? I just try to do the best I can, so this 6 represents a compromise between the respect due to this book and the influence it has had on literature, particularly sci-fi (an obvious, no-hesitation "10"), and my own feelings about how well it works as a novel (something closer to a "3).  It's a tough book to review.

On the one hand, this is the book that started it all, where time-travel speculative fiction is concerned.  The idea of a time machine, which still to this day is how we refer to any such device, whether in theoretical physics or in conceptual imagination, was begun with this book. So many great time-travel stories have been written, and though I suspect that someone else would have hit upon the idea of intentionally traveling in time if Wells hadn't written this sooner or later (Twain had already published "A Connecticut Yankee In King Arthur's Court" six years earlier, a year after Wells published his own pioneering short story, "The Chronic [What!] Argonauts"), all of them owe this book a debt.

So the reasons I rate this book as high as a six include, though they are not limited to, "Paycheck," "A Little Something For Us Tempunauts," "Slaughterhouse Five," "Hyperion," "The Terminator," Star Treks IV and VIII plus various episodes, "12 Monkeys," "Planet of the Apes," the Back to the Future franchise, and most especially the film "Time After Time," a great science fiction film featuring the character of Wells himself as the Time Traveler.  Great things, all of which I consider more enjoyable than "Time Machine." Thank you, HG Wells, for indirectly or directly inspiring all of those.

So I guess I should tell you why I think "Time Machine" itself so weak.  You're writing the first novel in which someone intentionally travels to a time of their choosing.  The possibilities are unlimited.  You can put this character through whatever you want and it will be believable because you have hit upon the most basic and excellent premise for a science fiction novel, well, ever.  So... you send a dull, generic protagonist twenty thousand years into the future to a time where the universe is empty and boring and populated by vacuous, moronic beings who are too stupid to do anything other than eat and procreate.  Oh but wait, there's more- there are weird evil creatures inexplicably living under the ground who prey upon these cattle-like humanoids at night, with whom the protagonist has a -very brief- run-in.


The 1960 film version of this movie is pretty wacky and ridiculous fare, maybe one of the campiest classics you'll ever see, but at least it isn't boring like this book.  Seriously, he could have done ANYTHING.  The final product speaks to me of a profound lack of imagination from one of the most imaginative minds in the history of the human race, and a profound lack of energy from one of the most prolific writers to take up a pen.  So much more could have been done here, and the results just underwhelm the hell out of me.  I speculate that the sheer limitless nature of the possibilities caused the author to freeze like a deer in headlights, and to focus on the first thing he could think of.

This was the third Wells novel I've read, and I must say that "The Invisible Man" and "War Of The Worlds," both of which set the world on fire, so to speak, are far longer on idea than they are on execution, though they are much longer on execution than "Time Machine."  I am beginning to think it possible that Wells just wasn't the writer, plot-wise and character-wise, that his contemporary and fellow sci-fi luminary Jules Verne was. [*note from two years later: this paragraph's sentiments to be revised after a later rereading of War of the Worlds!]

A classic? Yeah.  However, though Wells hopefully doesn't show up and sock me for saying so, it sure wasn't exciting.

Saturday, November 12, 2011

"Gateway" by Frederik Pohl; 6/10 [H]

Good, not great.  The big thing to see here is the premise, but I found the story mostly uninteresting, the finale it kept building up moderately disappointing, the choice of narrative style distracting, and the characters boring.  That said, it was a great premise, and the world in which Pohl set the book is also one of major interest to me.

The novel is set in an ultra-capitalistic future in which the tiny minority of wealthy people have medical care that makes them nearly immortal (organ transplants, rejuvenation drugs, etc), while everyone else is floundering in a highly exploitative society.  Did this democractic socialist find that vision interesting? Yeah. 

The main feature on which we focus is the Gateway, a chunk of rock discovered by space explorers that was hollowed out by a long-since-vanished alien race millions of years ago and used as a base for small ships to go on exploratory missions at faster-than-light speeds to uncharted regions all over the galaxy. The human race is unable to dismantle this technology for reproduction or recreation, but the ships in the Gateway are all pre-programmed with destination coordinates, so it is possible for would-be explorers to simply press buttons and rush off to far-off star systems. 

If they manage to return and bring with them bits of technology from their destinations (medicine, gizmos, food, etc) they can gain the rights from the corporation which runs the Gateway to huge bonuses which set them on the aforementioned easy street for life.  Sorta like the colonists coming to the New World.  There is a high level of danger, however, and even if you can get back, there is no guarantee that you'll be able to return with anything of worth.

The protagonist is recounting his story of travel in one of these ships to a therapist computer named Sigfrid, which is helping him cope with what happened on his voyage.  This plot device was an anathema to me, I really didn't care for either the protagonist or the computer, and it interrupted the narrative whenever I finally managed to get hooked, giving the whole book a stilted feeling.  A good idea and a good setting, but like Ringworld, I didn't care for how the author put them to use.

Pohl was better known as an editor of science fiction magazines, including Astonishing Stories, Galaxy, and If, the former of which gave beginnings to many major authors of the period under his editorship.  He was one of the guiding lights to the genre for decades, and is still living and writing to this day (92 years old).  He is thoroughly respected as a man who furthered the interests of science fiction and who helped bring it and its best authors into the public eye.  Did this influence the Hugo voters into giving him a vote of thanks when he produced his best novel? I don't know, but I will say I think Niven & Pournelle's "Lucifer's Hammer" deserved the award that year (more on that to come). This is worth your time, but not as good as advertised.

"The Stars My Destination" by Alfred Bester; 9/10


(Originally published as "Tiger, Tiger")

I don't remember this period of reading specifically at all, but what a good one it appears to have been, in hindsight. Those last three and then this, which was one of the most surprisingly good sci-fi reads I've ever encountered.

This book may have been one brilliant audio production away from a 10, it was certainly borderline, but the plot and concept were the only things that really registered with me, and you don't get to a 10 without a strong showing in one of 1)fascinating characters 2)interesting literary style or 3)transcendent thematic significance, and this book did not, at least on first read, hold any of those for me. 

The basic plot concept is a hybrid of two things.  Bester was inspired to begin the story when reading an account of a shipwrecked Japanese sailor adrift on a raft in the Pacific who was avoided by boats for months because everyone thought he was a lure, that if they tried to rescue him they would be torpedoed by a hidden submarine.  The novel's protagonist, Gully Foyle, is adrift in space for a similarly long period of time.  Foyle's story subsequently becomes a futuristic sci-fi adaptation of Andre Dumas's "The Count Of Monte Cristo."  The ways in which it mirrors this story, however, wind up being frequently original and delightful.

Reading this book was a real eye-opener for me.  It was published in '56, and yet presented sci-fi ideas that I myself had thought up and never seen in a book before (and hoped to present as original in the 2010's!). It was so far ahead of its time.  It has nearly every element of your standard cyberpunk novel, minus the actual cyber, but the environment and the characters and the plot are all there, and since William Gibson routinely cites this book as his favorite science fiction, you can bet that the influence is not accidental.  There are just so many great science fiction ideas in this book, and it is so short a book, that you wind up getting something awesome with every chapter. 

I loved this book, and became immediately curious about the author's other work.  I recommend his wikipedia page.  Essentially his classic sci-fi era is represented by exactly two novels, the other of which, "The Demolished Man" won the first Hugo for best novel and is on my to-read-soon list, and a bunch of short stories which have been collected into a single volume.  For decades after this book, Bester disappeared into other forms of writing, only returning to SF briefly in the '70's and before his death in the '80's. 

Nevertheless, he is accorded the rank of Grand Master, and his work, little of it though there is, is routinely cited by great minds in the field as being a primary influence on their writing.  Joe Haldeman has said that he rereads the book every other year.  It has been identified as a SF favorite by Neil Gaiman, Samuel Delany, Robert Silverberg, and Michael Moorcock, all someday to be reviewed in these pages.  The writers of the show "Babylon 5" created a character named "Alfred Bester," played by Star Trek's Walter Koenig, as an homage. This guy became a big deal with less output than anyone else, and this book is tops on that list.

I loved it.  You should read it.  Considering how many excellent ideas it has, it isn't even that long. Highly recommended, and an absolute must for the reader of speculative fiction.

Sunday, November 6, 2011

"Jonathan Strange & Mr. Norrell" by Susanna Clarke; 10/10 [H]

Read By Simon Prebble

So, ho-hum, this is the best fantasy novel I've ever read by anyone not named JRR Tolkein.

Erm, what? Surely you jest. Nay sir, no jest. Exaggerate then? Not a bit.  Well then, have you read anything by Susan Cooper, Philip Pullman, or Madeleine L'Engle? Yeees.  Have you read any of Ursula K. LeGuin? Read most of her fantasy.  Have you read Neil Gaiman? I bet you'd love him! I've read nearly every book or story he has written.  I do love him.  This book is better than those ones are, and he is a pretty big fan of it too.  Have you read CS Lewis? He is often regarded as a clear #2 to Tolkein.  Fictitious straw person, I would take Susanna Clarke's book over all of the Narnia series put together.  Well, I hoped we wouldn't have to get to this point, but surely you can't mean that this book I've only heard about once or twice is better than Harry Potter.  Yeah, I think it's better than Harry Potter.  Any and all of them.

In fairness I haven't read G.R.R.M. yet, and I haven't read Robert Jordan, though I'm told by credible sources I won't be impressed by the latter.  But I flatter myself that I am a fairly well-read fantasy reader, and yet I was wholly unprepared for the imagination, quality, and scope of this novel.

"Jonathan Strange & Mr. Norrell" is tale of the revival of English magic in a fictitious, alternate history early 19th Century England.  The brilliantly original way in which the author conceives magic is only matched by her skill with wit and irony (Clarke's prose owes an acknowledged debt to Jane Austen) and her ability to create fascinating characters who are at once fantastic and real with seemingly complete ease.  There are so many great characters in this book, and her skill as a writer is so great, that even though it is a work of biblical length I was crestfallen when it ended.  The publication of her next novel will be one of the most anticipated literary events (for me) in my life.

To date, this is the only book written in the three years which this diary currently covers that I have revisited within that span of time; I am rereading it at present and enjoying it, if possible, even more.  Simon Prebble is the best, yes, best narrator that I have reviewed up to this point, and there is only one coming whose skills will eclipse his (as of 2011).  Prebble reads irony perfectly, puts emphasis exactly where it should go, and brings characters to life with voices of surpassing skill.  I loved his reading so much that I sought out more books which he'd narrated when I finished this one, some of which will be reviewed here at a future date.

One could easily write a dissertation on the historical aspects, literary style, thematic significance, or character development in this book.  I think it ranks with "Lord Of The Rings" and "Dune" in terms of how re-readable it is, and in terms of how much there is here to still be found and uncovered and discussed on the fifth reading, the sixth, and the seventh.  It is just a gold mine.  It took the above books decades to gain the kind of following that they deserved, and that may well prove to be the case with "Jonathan Strange," but that doesn't mean you can't be ahead of the curve.

Be warned that the ending may confound your expectations.  I won't spoil it, but I, for one, thought it was an excellent one.  I'm curious to see how I feel about it the second time through, though.


My only complaint about this book isn't even a complaint about the book, it just annoys me that it won a Hugo for best novel.  The problem isn't really that it didn't deserve it, but the Hugo was, with one or two exceptions, an award for science fiction novels until the last decade, when sci-fi seemed in many quarters to have run out of new and/or interesting things to say.  Older themes have been continued, but if there are new themes or new writers who compare to greats from the '80's, '60's, or '40's, I'm not aware of them. So instead Hugo Awards have gone to books that aren't sci-fi at all, but are instead fantasy.  Six times in the decade!  And I've read and enjoyed all of those books, but you'll still hear me complain when I review the others.  Whither science fiction? Bah humbug.

Anyways, that silly complain aside, this book is a flat-out "must" for anyone with an interest in fantasy, speculative fiction in general, for anyone who is an Anglophile or who is interested in English history, or for anyone who loves audio books, or really for anyone just in general.  I am all of these!

"For Whom The Bell Tolls" by Ernest Hemingway; 10/10

Read By Campbell Scott

Unquestionably one of the greatest books I have ever read. 

As a seller of books I have, over the years, periodically been asked to make recommendations, both to individuals and to help fill out the "Staff Recommends" section.  This is a perennial choice of mine, and when I write the blurb to go with it, I say something like, "This Is Hemingway's definitive statement on death, love, war, peace, betrayal, loyalty, hatred, and friendship, set in the Spanish Civil War." Hemingway was a correspondent in Spain during the Civil War, itself a proxy war against fascism for many Western ideologues, along with a number of other famous writers. 

This book, like my description of it, is in some ways a series of contrasts.  It is set over just a three-day period and yet is one of the longer novels you'll find.  The action is confined to a small mountain and village in Spain, and yet it manages to be one of the definitive statements on the country in that period, and on the Spanish Civil War in general.  You feel like you have been to all of Spain and lived through the whole war when those three days have ended.  He makes you feel like you understand, which is mostly an illusion, but it is an illusion which may be the primary goal of writing.

There is just so much substance to this book... I can't even tell you how moving it is.  I had read and liked Hemingway before, but this was one of those instances where it became obvious that I would be reading all of the important work by the author as soon as I could get to it.  Hemingway's writing strikes such a chord with me.  It is simple, deceptively so, but extraordinarily honest.  He does not spare you anything, he does not lie to make some people sound better than they are and other people sound worse, he just gives you the real thing.  The characters are just out of this world well-written.  What genius.

I have, to date, rated seven books a perfect 10.  The leap from 8 or 9 to 10 is a leap from being something I recognize as great or brilliant writing to something I recognize as being highly meaningful to me in the utmost.  In each one of those  seven I can tell you the specific point where I realized it was a 10. War movie in reverse in "Slaughterhouse." The scanner darkly passage in "Scanner." The ending of the third chapter in "Lord of Light." The opening passage of "Lolita." The final chapter of "Ubik." The opening passage of "1984."  The first chapter of "Hitchhiker's Guide." 

In "For Whom The Bell Tolls," the passage where Pilar tells about the overthrow of the fascists in her village was just one of the most extraordinary bits of good writing I've ever encountered.  I cannot recommend this book strongly enough.  If you can get it, I recommend the audio book.  Campbell Scott, son of Oscar-winning actor George C. Scott, is one of the best readers out there, and while his baritone perfectly suits this book, his voices and accents are the real prize. 

There was a year or two there where I would cite this book as my favorite, and strangely I had that in common with BOTH presidential candidates in 2008.  Yes, McCain and Obama have the same favorite book, and this is it.  Go figure.

Many people are thrown off by the length of this book, which is ample, but I find more and more as I read that if I get this attached to a book, I will actually be more unhappy if it is short than if it is long, because I become invested and want more.  "For Whom The Bell Tolls" bites off exactly the right amount of material, and ends exactly when and as it should end. I love Hemingway, and I think this is his best. It made me want to go to Spain and to become knowledgeable about the Spanish Civil War, and if you bet that I make both of these things happen someday, you'll be making a pretty safe bet.

This one really shook the Earth for me.

"The Forever War" by Joe Haldeman; 8/10 [H]

 This is probably one of the best and most important science fiction novels published in the '70's, and it really struck a chord with me. 

There is important background for this book.  Haldeman majored in physics and astronomy, so his science background is fairly solid, and that will be something to consider if you read the book.  After graduating college he was drafted into the Army in '67, and sent to Vietnam, where he was in the shit and where he was wounded in action.  "Forever War" is, despite its being a work of science fiction, one of the greatest books about the Vietnam experience that I have ever read. 

It follows a soldier who is conscripted to fight against an unknown enemy for reasons he doesn't particularly buy on the other side of the galaxy, in horrible conditions.  The book is divided into segments, just like the segments of an conscript's term of service during wartime.  Between each of these segments he is allowed to return to Earth on R&R leave.  However, there is no faster-than-light travel, so to actually get to the planets where he is to fight and then to get home takes him subjectively a year or two, but in time on Earth it is hundreds of years.

This book is very dark and violent, but it feels like Haldeman really put his heart on his sleeve here, really put all that was wrong and terrible about war, and his war in particular, into the book.  It also is the fearliest science fiction novel I've read that uses the difference between subjective time and real time created by relativistic travel speeds (the Ender sequels draw heavily on this), and he uses it to chilling effect. 

Haldeman has also stated before that he views this book as a rebuttal to Heinlein's rah-rah "Starship Troopers."  I think it works remarkably well in that regard, and I find it far more compelling, particularly considering the fact that Haldeman saw combat and Heinlein didn't.  I think the film version of "Starship Troopers" actually drew almost as much on "Forever War" as it did on Heinlein's book, though I couldn't say whether it was intentional or not.

I don't really have much to complain about in this book, and I think it highly likely that I will like it even more the second time.  The characters were solid, though not superb, and the only thing that stands out as being particularly awkward are some of the bits where the protagonist is back on Earth.  If you read the book, though, you will see why these parts would be exceedingly difficult to conceive, and I think Haldeman did a pretty good job considering.  

This book is a must-read for the science fiction fan, a must-read as a War Novel for those who read them, and a must-read for the student of the history of the Vietnam War, which I happen to be.  It established Haldeman as a major name in the genre, but it transcends the genre in a way that few SF novels have ever done.  I commend it to your attention.

Saturday, November 5, 2011

"Mrs. Frisby And The Rats Of NIMH" by Robert O'Brien; 6/10

Another movie to book experience.  In this case the movie in question is "The Secret Of NIMH."  It is so-called because of weirdness with the rights to make the movie, which also resulted in the protagonist's name being changed to "Mrs. Brisby." Isn't that strange?

"The Secret Of NIMH" is one of my all-time favorite kids' movies, made by my favorite animator, one Don Bluth.  Karen and I have actually made a bit of a study of animation styles over the years, you should ask one of us some time.  This movie is excellent, particularly as in terms of the animation, but the story and voice acting are pretty good too.  I used to watch it at my grandfather's house in Louisville, Kentucky, where I was born, and where I would return a few times a year to visit.  It scared the shit out of me as a kid, but not in lasting ways.  It's probably too dark for the age it was made for, and shares this with "Watership Down" (about which, I'm happy to now be able to report, more later).

I occasionally put my speculative fiction tastes to the test with kids' lit and teen' lit, with mixed results.  This story is actually unusually sci-fi-ish for a children's story, and succeeds best on those terms for me.  Essentially the tale follows the same idea of "Flowers For Algernon" (increased intelligence) without the downside, as an adventure after the testing has transpired, and from the point of view of the rodents. 

The adventure in this story is substantially less than that in the movie (as you might expect, the movie had to have more action) and the book is conversely much longer on back-story, which was my favorite part anyways.  I have three favorite characters who are present in both book and movie, and in the movie one of them dies.  In the book he lives! But a different one dies. Frowny face. I now imagine it as both of them living, sort of a hybrid plot, it's geeky, deal with it.

The book is good, though mostly on the strength of a premise which isn't entirely original.  More here for kids than for adults, especially with a resolution that feels to hurried and too easy.  Good book though. The strange thing about reading it as an adult was that I had both seen the movie and, I was pretty sure, read every Newbery-winning book that had come out before I was 9, but I remembered nothing and wound up being fairly certain I'd never even held this book in my hands before. Go figure.

"Caves Of Steel" by Isaac Asimov; 6/10

This is one I have to struggle just a little to remember in detail, but the details are in my head someplace.

It was good, though not great, but important to fans of genre for being (as far as I know) the first instance of a science fiction novel with the plot structure of a mystery/detective novel.  Asimov apparently welded them together after being challenged (ie begin told "it would never work") by his publisher, the "thinker," author, editor, and publisher John W. Campbell.

"Caves Of Steel" is set in a futuristic Earth which has been altered by all kinds of technologies and pressures (robots, food production, overpopulation, domes to keep out pollution, etc), but follows your standard hardboiled detective along an untwisting onion plot with decided sci-fi flavors.  The novel would be a 7 if only it had ended better, but the conclusion was less than satisfactory.  The characters were great, though the dialog was slightly awkward in nevertheless-endearing Asimovy way.  He does love catchphrases.

This is solid Golden Era fare, and though I don't find it earth-shattering now, it was a big deal in its time.  "Do Androids Dream Of Electric Sheep?" in particular surely owes it a small debt of gratitude.  If you like Asimov, you'll definitely enjoy this book, and probably follow its characters into the sequels, as I will do someday.

Asimov is easily my favorite of the "Big Three" writers (Heinlein, Clarke, Asimov) who wrote many of the first popular science fiction and popularized the genre in the fifties.  Asimov's plots are just as imaginative, but his narration and style, though not necessary literary, just feel better to me than the others. I have no idea why Bradbury doesn't make that group, though you've seen how I feel about him, and I'd say at his best he is better than these three, but he is so often not at his best.  Asimov is consistently original, thought-provoking, and entertaining, and I can't say that about his contemporaries, at least in my limited experience.  I suppose my real SF bread and butter authors are guys writing in the '60s anyways.

"The Handmaid's Tale" by Margaret Atwood; 8/10

The last entry to this blog that was chosen by our ill-fated book club, this selection was made by Karen, who had been wanting me to read Atwood for a long time.  I was very glad I did. This was the best book, I think I can state with ease, that our book club got to.  There was one choice (also non-fiction, some travel book) that isn't getting reviewed here because I didn't actually even read it.  I got a few pages in, and Karen told me it was stupid and I just shouldn't bother. Having ignored this advice on "Desert Solitaire," to my great regret, I took it this time.  Sometimes it is a good idea to listen to your girlfriend.

There are people in the world, millions of them, whose brains and tastes are thoroughly corrupted by their partner.  Having watched an entire season of the horrendous show "Sex And The City" to better understand one girl, and having subsequently adopted music tastes that didn't really suit me for the sake of another, I believe I subsequently resolved in an unconscious way not to do this again.  I don't like things because Karen does or because she wants me to, though this may convince me to at least try them. I like them because I like them.  I think she does the same thing, and I think this is a minor cornerstone to the success of us. 

Did you care about that? No? Ok, I'll talk about "Handmaid" now.  This book was one of the best dystopias I've read, because I realized when I finished it that there are in reality societies NOW that function this way, and people in them who would foist them on the entire world if they had their way.

The protagonist is a woman in a heavily patriarchal society (is that fair to say?), a society in which she has almost no freedom and in which every aspect of her life is controlled by a government comprised of religiously fanatical men.Atwood's society is completely believable, functions well in its own right, and is very compelling.  More importantly, however, the characters and the dialog are very real, and hit home for me.  Finally, her writing is just very good.  I liked it so much that I mentally decided to check her out again someday, and that someday later came much sooner than I expected it to. 

A great work of feminism, a great work of science fiction, and a great work of literature.  I loved the ending, and my only complain about the book is that it was too short and/or rushed.  I wanted more, and I think it could have stood a little more length.  That says good things about the quality though.  Recommended!

"Moneyball" by Michael Lewis; 5/10

The fourth of six non-fiction titles that I have read in three years.  Only one of those is particularly compelling, and this one isn't it.  I read this because my cousin, Lowell, with whom I have shared an enthusiasm for baseball since our fifth year of life, told me I'd better read it to know what the fuss was about.  I am glad I read it, exactly for that reason, though it was neither mind-blowing nor life-altering.

Michael Lewis, a bestselling writer who makes his mark by exploring business/money angles as an outsider (wiki apparently calls him a "financial journalist," which hits close to the mark), decided to do something of an expose on why the Oakland Athletics, led by general manager Billy Beane, were gaining so much success in baseball even though they were spending far less on player salaries than other, larger market teams (Red Sox, Yankees, etc).  The book winds up being probably the most important thing in print on the strategic and financial revolution of baseball which was beginning as the book was written and continues to play out even today (with great benefits, I might add, for baseball fans everywhere).

This book is great for bits of what it does, ie exposing the strategy of Billy Beane and the simple importance of On-Base Percentage as a statistic for evaluating baseball players.  It had a few other things to say, from a baseball/business standpoint, particularly on the subject of relief pitching, which has also proved influential in the sport subsequently. It introduced the statistical revolution begun by baseball statistician and former nightwatchman Bill James to the masses, and more importantly, to much of hitherto ignorant baseball front offices. Most importantly, it winds up making interesting sketches of players themselves and the lives they lead, such as Scott Hatteberg, Kevin Youkilis, and David Justice, and most of all, of Billy Beane himself.  Any front office executive in MLB worth their salt has read this book and explored its maxims.

However, they have also probably taken it with a grain of salt.  Much of this book has withered with age. 

A significant portion of the book focuses on Beane's "revolutionary" draft strategy.  Beane is determined to draft value players from colleges because they are less uncertain than high school prospects.  He also is determined to employ James' statistical methods (On-Base Percentage) instead of listening to the physical talent evaluations of his scouts (the traditional mavens of prospect values) in making selections. All of this leads Lewis to focus the narrative on Beane's goal of drafting a collegiate catcher from the University of Alabama named Jeremy Brown.  When this is achieved, Lewis treats it as a climactic moment in the book, a major coup. Brown would subsequently go on to be a failed prospect who only ever got ten at-bats with the Athletics. En route to this draft choice (made over the objections of his scouts), Beane explains why he'd rather have Brown than high school guys who are "impossible to project," like Zack Greinke, Prince Fielder, Scott Kazmir, and BJ Upton (subsequent all-stars).  In that particular scene, as it turned out, every guy Beane mentions doubtfully will someday wind up being pretty good, while his own will not make the bigtime.

[Does Billy Beane look like Brad Pitt to you?]

Lewis spends a long time talking about players who Beane has ingeniously managed to gather on the cheap, even though they are criminally under-appreciated .  Many of these players (Eric Chavez, Barry Zito, Chad Bradford, Bobby Crosby) have not made these sentiments look particularly good in hindsight.  In fact, with hindsight, the A's run of success (which ended not long after the publication of this book and has yet to return) seems like a pack of flukes overachieving and having career years at the same time, and powering a mediocre team to a first-place finish in the worst division in baseball, after which it always lost in the playoffs. 

None of this is really harmful, it just means that "Moneyball" said or stood for a lot of things that don't look particularly true a few years later. The one harmful thing, which I consider very harmful, is that Lewis uses this expose to argue against a salary cap for baseball, which is something I happen to believe it sorely needs.  A salary cap, for the uninitiated, says that no team may spend more than X dollars total on player salaries.  The result is that you can't have a team like the Yankees buying all of the best free agent players and therefore ensuring a return to the playoffs every single season on the strength of their huge revenues (which themselves are primarily a result of merchandise sales and television revenue, not ballpark ticket sales) while a team like the Pirates is left with the chaff because they are a poor team. 

Lewis basically argued that if Billy Beane could game the current system that it didn't need fixing.  I thought it a lame argument, especially as a fan of a poor team (the Reds) which has traditionally raised a crop of good players through the minor leagues only to see them leave to rich teams in free agency while the team goes nearly a decade without a winning season.  There is far less parity in terms of win-loss records in Major League Baseball, which has no salary cap, than there is in the National Football League, which has a salary cap precisely to ensure parity in the player pool.

And you so didn't care about any of that! But thanks for sticking with me this far. As a reward, here is a picture of a kitten dressed as a bunny!



But seriously, if this bored you, don't read "Moneyball," although he probably writes it better than I do.  But he winds up being wrong about a bunch of what he says.  No, I haven't seen the movie, and yes, I want to, but no, I don't have any idea how someone read this book and saw a movie in it.  It's supposed to be good though.  We'll see. 

Ho-hum.