BOOK REVIEW: Gone Girl by Gillian Flynn

Gone GirlGone Girl by Gillian Flynn

My rating: 5 of 5 stars

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This book is about the perils of adopting a false face when dating. At first Nick and Amy seem like the perfect couple, but that’s because Amy is donning the guise of “Cool Girl” and Nick is playing the part of the romantic. When the facades crack apart, so does their marriage. Then Amy goes missing under mysterious circumstances.

This isn’t the type of book that would normally call to me, but I read it because I kept seeing references to it and had to see what the hullaballoo was about. I must say, however, the book did not disappoint. I found Gone Girl hard to put down. Flynn does an outstanding job of carefully revealing information—and sometimes planting false flags—so that one is kept thinking throughout the book. To the characters in the book—besides Nick–it increasingly looks like Nick killed his wife, but to the reader it’s more of a roller coaster ride. At first we can’t believe he’s responsible, then we discover he’s not who he appears, then we learn who Amy really is, and so on.

The organization is alternating chapters from the point of view of the two leads, Amy and Nick. This is why we can’t believe Nick is a murderer at first, because we are seeing his point of view, but then we realize that it’s a limited point of view, and Nick isn’t particularly forthcoming about his peccadilloes and vices. In fact, Nick’s penchant for lying is a major factor in his deepening crisis. Nick’s problem is that he can’t stand to not be liked, particularly by women. Amy’s problem stems from having parents who wrote a book series called Amazing Amy that portrays a character that is a thinly veiled version of her—except perfect in every way. This leads to a condition in which Amy needs to appear perfect, even if she realizes that perfection is illusory.

If the reader has a point of dissatisfaction with this book, I believe it will be with the ending. I, myself, have mixed feelings on the subject. On one hand, the ending seems unbelievable and maybe a little flat. On the other hand, it’s an unexpected ending, and I think any ending that wasn’t completely unexpected would come across as a letdown after all the twists, turns, and reveals of the book.

I’d recommend this book for anyone who likes a good story. As I said, it’s highly engaging and readable.

FYI – there is a movie version coming out on October 3, 2014.

Here’s the trailer:

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BOOK REVIEW: The Ocean at the End of the Lane by Neil Gaiman

The Ocean at the End of the LaneThe Ocean at the End of the Lane by Neil Gaiman

My rating: 4 of 5 stars

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As the title suggests, The Ocean at the End of the Lane takes place in a world in which the supernatural and spectacular lay camouflaged amid the most mundane of settings. The story is about a boy’s interaction with a tri-generational household of women who I’ll—controversially—call “good witches.” The characters explicitly gainsay the title of “witch,” but for lack of any better term with which to describe these ladies other than “a trio of females with supernatural abilities and benevolent purpose,” I’ll call them good witches.

In particular the boy befriends the youngest good witch, a girl who physically appears not much older than he, but whom he comes to realize seems much older. It’s the girl who refers to the pond on her family homestead as the “Ocean.” The girl introduces the unnamed boyish male lead to a supernatural parallel universe, but—in doing so—unwittingly gets the boy tangled up in peril. The boy tracks a portal into his world through which a malevolent creature can slip through. The shape-shifting creature becomes his nanny. However, he is the only one in his family who can recognize the creature’s true nature, and it will do anything to keep the boy from ruining its new gig.

The good witches become the boy’s protectors, and powerful protectors they are. But they aren’t omnipotent, and the forces arrayed against them are formidable as well. Among the morals of the story are that the more powerful enemy of one’s enemy is not only not necessarily one’s friend, but may spell one’s doom. The book also speaks to the rashness of youth running headlong into trouble, and the value of wisdom and experience to find solutions.

This book is short and highly readable. It’s appropriate for young adult readers, but can be enjoyed by adult readers as well. The ending is slightly too deus ex machina for my taste, but overall it’s an intriguing book.

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BOOK REVIEW: The Moor’s Last Sigh by Salman Rushdie

The Moor's Last SighThe Moor’s Last Sigh by Salman Rushdie

My rating: 5 of 5 stars

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The Moor’s Last Sigh tells the tale of three generations of an Indian family that built its fortune in the spice trade. This isn’t the type of book that would usually float to the top of my stack. I read it because I was traveling to Kochi (Cochin), and it came recommended because much of the first part of the book is set there. (The same recommendation might be received by someone traveling to Mumbai because the latter half of the book is set in that city; granted, there are a lot more stories set in Mumbai [Bombay] than Kochi.) Ultimately, I was pleasantly surprised by this book, despite its soap opera like tone.

The book does read like a soap opera, at least until it gets into the narrating character’s story. There are strong women characters in this male-dominated environment of an Indian family business, though they tend to fall into the categories of “petty bitch” or “prima donna” or both. In the first generation there is a matriarchal character who dominates the family by manipulation and cruelty. In the second generation, the female lead—a strong-spirited, independent artist—falls in love with a Jewish employee of the family. Those familiar with marriage as practiced by the Indian elite will recognize how this inter-sect wedding with an underling might result in no small grief. The resulting marriage produces two female children and a boy. The latter would be nothing but a source of bliss, but for a birth defect that results in a malformed arm. While his mother smothers him with love and attempts to display a progressive spirit that’s beyond biases against such infirmities, under the surface there is the need to come to grips with the fact that handicapped children aren’t supposed to happen in high-caste families. The man with the infirmity is the narrator and overall protagonist of the book. He—as seems inevitable—will eventually fall for a woman of which his mother does not approve.

Beyond the soap opera pettiness, there are genuine intrigues that unfold in the latter half of the book. However, the pettiness of narcissistic people is the root of the protagonist’s ultimate trial.

While Rushdie builds characters in the manner we expect of literary fiction, he doesn’t abandon story. There is a narrative arc that unfolds over the course of the novel. Surprises are revealed and twists unfold.

This is the first Rushdie novel I’ve read. I’ve always intended to read The Satanic Verses to see what all the hullaballoo was about, and the readability of this work makes me even more interested in following through. You know a writer has to be good to inspire a country to take out a hit on him.

I’d recommend this for more than just people visiting Kochi or Mumbai—though it will be particularly interesting for those who are. If you’re interested in the lifestyles of the rich and famous in India more generally, you’ll find this work enlightening. In general, it will appeal to those who like their literary fiction with a bit of a storyline—and if you like the low drama of bitchiness, all the more so.

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BOOK REVIEW: Batman: The Dark Knight Returns by Frank Miller

Batman: The Dark Knight ReturnsBatman: The Dark Knight Returns by Frank Miller

My rating: 4 of 5 stars

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A couple of reviews ago, I covered Frank Miller’s Batman: Year One, which imagined the first year of the Dark Knight’s venture into crime fighting. The Dark Knight Returns is Miller’s take on the other end of the Caped Crusader’s career. It begins ten years after the last sighting of the Batman. Commissioner Gordon is on the verge of retirement, and there’s a mix of new and old threats rising.

There are four parts to this work. The first, also entitled The Dark Knight Returns shows the rise of a powerful gang of thugs called “The Mutants.” The way this gang’s leader is drawn makes him look like he truly is an altogether different species, but it’s his filed teeth and his bulky physique that account for his appearance. The main battle is with the “rehabilitated” Harvey Dent (a.k.a. “Two-Face,” an inappropriate moniker as his face has been fixed and his flighty psychiatrist ensures the community that Dent’s mind is fixed as well.) We see Bruce Wayne’s concern about the deteriorating state of Gotham and his eventual return to crime fighting, which is instigated by a freakish bat flying through his [closed] window. Wayne takes the bat as a sign from the universe that the Batman is indeed needed. Dent engages in a terroristic plot which the Dark Knight must try to foil.

As was the case in Batman: Year One, the story of Commissioner Gordon plays out in parallel with that of Bruce Wayne / Batman. However, in the third book, Gordon has retired and it’s the new Commissioner, Ellen Yendel, who shares the spotlight. Yendel, unlike Gordon, promptly issues an arrest warrant for Batman.

Book Two is called, The Dark Knight Triumphant, and it’s in this episode that Batman comes up against the leader of the Mutants. As in Batman: Year One, Batman arrives to the fight as an underdog. However, as would be expected, the nature of his underdog status is completely different. In Year One, Batman is a supreme physical specimen, but is green to crime fighting. In The Dark Knight Returns we see a battle-hardened veteran Batman who is a spry geriatric, not up to fighting young, mutant thugs. However, as with the former comic, the Dark Knight does redeem himself. Many of the Mutants, being fair-weather friends to their leader, form a cult of Batman in the wake of the Dark Knight’s victory over their former boss.

Besides broadening the readership demographic to retirement community dwellers, another new demographic is appealed to with Carrie Kelley, the new Robin. There are references early in the book to the profound effect that the death of Jason Todd had on Bruce Wayne. Be that as it may, Batman seems quick to bring this young girl into harm’s way given the lingering wound of Jason Todd.

Book Three, Hunt the Dark Knight, pits Batman against his ultimate nemesis, the Joker—who like Dent—has been sprung in no small part due to his lunatic psychiatrist. Miller continues the popular Batman comic disdain for psychiatrists, who are portrayed as a small nudge away from becoming bat-shit crazy (pun intended.) While the battle against the Joker provides this chapter’s crime fight, Commissioner Yendel’s war on Batman is a major part of the storyline. We also discover that time has not been as kind to Selina Kyle as it was to the men of this series. (i.e. Gordon is old but distinguished, and Batman has pretty much the same preternatural physique that he did as the young batman.)

The Dark Knight Falls is the last section, and it’s the most famous for the battle between Batman and Superman. Earlier in the book there’s a foreshadowing call from Clark Kent to let Batman know that the Superman will be out-of-town for a while. Appropriate to the 1986 issue date of this comic, a Cold War crisis is the event consuming Superman’s time. These Cold War tensions result in a nuclear missile launch that Superman diverts, but the Man of Steel hasn’t read up on the Electro-Magnetic Pulse (EMP) effect. [Incidentally, Miller didn’t read up on the use of nuclear weapons as an EMP either, or—at least—he gets it completely wrong. Perhaps, he just figured that his readers wouldn’t know the difference–and he’s probably right. At any rate, I’m not deducting stars for bad science.] The power outage caused by the EMP results in looting and societal chaos. Batman quells this with the help of the cult of Batman mentioned previously. However, this doesn’t go over smoothly with some, which results in Superman’s invasion of Batman’s Gotham turf, and the ultimate battle.

I enjoyed this work more than Batman: Year One in part owing to the serious enemies that the Dark Knight must vanquish. I’d agree with the common view that this is a must-read for those interested in the canon of the Caped Crusader.

Also, if you aren’t a comics fan but are wondering how Batman and Superman could end up fighting–as per the upcoming Batman v Superman: Dawn of Justice movie–this might give you some insight. [Though I wouldn’t expect that movie to follow this work in any of the vaguest ways.] Also, there are other Caped Crusader versus Man of Steel interpretations out there, though this is probably the most famous.

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BOOK REVIEW: Batman: Year One by Frank Miller, et. al.

Batman: Year OneBatman: Year One by Frank Miller

My rating: 3 of 5 stars

Amazon page

Amazon recently had a sale on classic Batman collections in celebration of the Caped Crusader’s 75th anniversary. I bought a few titles, including this one.

Batman: Year One is Frank Miller’s vision of the hero’s first year of crime fighting. Unlike the first movie in the Nolan trilogy, Batman Begins, there’s no backstory about Bruce Wayne’s training. The comic begins with Bruce Wayne beginning to go on the equivalent of self-sanctioned “neighborhood watch” rounds in Gotham’s seedy underbelly. He’s in his planning and research phase, and only quasi-reluctantly gets into brawls with street thugs. His goal is, ostensibly, intelligence gathering.

Miller’s work isn’t aimed at a boyish market. From the intimation of underage prostitution to themes of marital infidelity to the unsubtle homage to Edward Hopper’s famous painting Nighthawks, this book is directed at a more mature reader. It’s grittier, but Batman hasn’t yet become so sophisticated as to abandon wearing his underwear outside his pants.

The four chapters that make up this graphic novel parallel and twist together the stories of Jim Gordon and Bruce Wayne as they each begin their Gotham crime fighting careers. In many versions of the Batman mythology, Gordon is a young cop who helps boyhood Bruce Wayne on the night his parents are killed. This is one of the ways in which the Miller version differs. In Batman: Year One Gordon is a detective who moves to Gotham from Chicago at about the same time Bruce Wayne is sticking his toe in the waters of Gotham crime. This comes in handy for Miller later in works like Batman: The Dark Knight Returns in which he is able to have a geriatric Bruce Wayne and Jim Gordon coexisting.

The interests of Gordon and Batman only align at the very end of the last chapter. Until then, Gordon is trying to find and apprehend Batman like all the other cops. In fact, Gordon is leading the crusade against the Dark Knight when his bosses still have little interest in it—until Batman crashes their ball.

There are no supervillains yet—only corrupt cops and organized crime. Bruce Wayne, who adopts the guise of Batman only after a bat flies through his window (never heard of that happening), gets off to a rough start. He isn’t yet the phantom nightmare that he will later become, and is still learning his lessons. In his early encounters with criminals, he prevails mostly by being able to take a punch.

Besides Bruce Wayne’s inner monologue being a bit ham-handed, I enjoyed this work. The ham-handed inner monologue is—no doubt–intended to convey that Wayne is a man of thought as well as a man of action, but it’s hard to believe that someone who could transform himself into the Batman would be that riddled with doubt. That said, the dialogue is better written than the typical comic. There’s not a lot of the “As-you-know-Bob” dialogue that often plagues this genre.

If you’re a fan of the Dark Knight, this is worth reading.

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BOOK REVIEW: The Good Soldier Ŝvejk by Jaroslav Haŝek

The Good Soldier ŠvejkThe Good Soldier Švejk by Jaroslav Hašek

My rating: 4 of 5 stars

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Haŝek’s novel is a satire of war and the absurdities that arise therein. It’s a novel in the vein of Heller’s Catch-22 and Vonnegut’s Slaughterhouse Five. It predates those novels, and is set around World War I–rather than those other novels’ World War II bases.

The novel begins at the outset of the First World War, and revolves around the title character, Ŝvejk (also spelled Schweik). Ŝvejk is an enigma. Believing that no man can be so stupid, authority figures are constantly suspecting him of being a saboteur or a goldbrick. It’s never made clear whether Ŝvejk is a brilliant con artist or the complete dolt he appears to be.

The story follows Ŝvejk from some ill-considered statements about the Archduke Franz Ferdinand that get him in trouble through to his unit’s advance on the front lines of the war. He leaves behind his job selling mangy dogs with forged pedigrees when he’s drawn back into the military (he’d previously served and been released as feeble-minded.) Along the way, he spends time as a chaplain’s assistant and a batman (a military officer’s servant, not the superhero)—that is, after he gets released from a lunatic asylum.

Ŝvejk is, at once, the best and worst of soldiers. He is honest to a fault, except when lying in the service of others—at which point his lies are inevitably humorously transparent. He isn’t a free-thinker and will follow orders—as best he can remember or understand them—to their, often absurd, bitter end. Of course, the flip side of this is that he doesn’t know how or when to speak, and while he’s not a free-thinker, nor is he much of a thinker–period.

The following quote sums up why Ŝvejk is the best and worst of soldiers: “Beg to report, sir. I don’t think because soldiers ain’t allowed to. Years and years ago, when I was in the Ninety-first Regiment, the captain always used to tell us: ‘Soldiers must’nt think. Their superior officers do all their thinking for them. As soon as a soldier begins to think, he’s no longer a soldier, but a lousy civilian.’” This is the mantra Ŝvejk lives by, and it serves no one well in the volatile and mercurial world of war.

Ŝvejk isn’t the only comedic character in the book. There’s a drunkard Catholic priest of Jewish ancestry for whom Ŝvejk serves as an assistant until the priest lost him in a card game. There’s another batman who’s constantly hungry, and eats anything he can get his hands on–even if it’s the private stock of the officer for whom he works. There’s a reserve officer, Lieutenant Dub, who is always trying to show how tough he is but is constantly foiled by Ŝvejk’s frankness and naiveté.

There’re also straight men such as Lieutenant Lukas—the man who wins Ŝvejk’s services from the chaplain, and who comes to rue the day he did. Lukas is a competent military officer with a good head on his shoulders. But Ŝvejk’s bumbling antics are constantly getting the Lieutenant in hot water, and he finds Ŝvejk to be the proverbial bad penny. A prime example of Lukas’s regret comes when Ŝvejk gets the Lieutenant a dog that he knows is stolen, but that turns out to be rightfully owned by a Colonel.

Another straight man is the Quartermaster who knows enough to ignore the first order to draw rations because the military never moves as quickly as the officers think it will. (Incidentally, the best piece of advice I ever got when working with bureaucratic organizations was to always ignore new directives that seemed asinine because eventually most will die on the vine.)

This book is humorous, if not hilarious. One of the funniest episodes is when Ŝvejk is cast in with the malingerers and has no idea what they are talking about as they discuss their strategies for staying out of the war. Another is when the officers devise a code based on an obscure book only to discover that it’s a two volume set and they’ve dispatched the wrong volume as the key.

Much of the humor comes in the form of Ŝvejk’s dialogue. He’s a gregarious chap who rambles on at the most inopportune times. Some classic Ŝvejk quotes include:
-“I’m feeble-minded, fair and square.” (when accused of being a cunning malingerer)
-“I’ve been cross-examined once and they chucked me out. And what I’m afraid of is that these other gentlemen who are here along with me are going to have a grudge against me because I’ve been called for cross-examination twice running and they’ve not been there at all yet this evening.” (upon being called back for a second round of interrogation)
-“Pigs might fly if they had wings.” (when accused of being a spy, and asked whether he’d have taken pictures if he’d had a camera)
-“I used to serve under a Colonel Flieder von Boomerang, or something like that, and he was just about half your height. He had a long beard, and it made him look like a monkey, and when he got ratty he used to jump so high that we called him India-rubber Daddy. Well, one day—“ (upon being accused of having no respect for his superiors)

One of the weaknesses of this novel is its rather abrupt ending. This is because Haŝek was only two-thirds of the way through with the novel when he died of tuberculosis. It’s not that there is no ending, but it reads like just another turn of events that Ŝvejk would eventually bumble his way out of. Of course, that’s likely because that’s what the author intended it to be.

As with Heller and Vonnegut, Haŝek’s novel benefits from his personal experience. He was drafted into the military and spent five years as a prisoner of war in the hands of the Russians. (A situation that somewhat mirrors the experience of his protagonist.)

If you like war satire, you should pick up The Good Soldier Ŝvejk.

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TODAY’S RANDOM THOUGHT: Chasing MacGuffins

What's the "Rabbit's Foot?" Source: Paramount

“What’s the ‘Rabbit’s Foot?'” “I don’t know, but I’m going to shoot her in the head if you don’t give it to me.” Source: Paramount

Critics often bemoan the effectiveness of MacGuffins. A “MacGuffin” is an object so intrinsically valuable that people are willing to kill for it, die for it, or chase each other across the universe for it… and this is the important bit…without knowing precisely why said object is so valuable. In other words, it’s a plot device designed to propel plots forward that would have no reason to advance otherwise. Its exact characteristics are unimportant, and sometimes even its general characteristics remain unrevealed.

Prime examples from the cinema include “the case” from Pulp Fiction, the “Maltese Falcon” from the same-named movie, the “one ring” from Lord of the Rings, the sword “Destiny” from Crouching Tiger, Hidden Dragon, the “Rabbit’s Foot” from Mission Impossible III, the “Tesseract” from The Avengers, or “Genesis” from Star Trek II: The Wrath of Khan.

So, why would people kill, die, or chase after something that they didn’t understand? That’s what the aforementioned critics say, but I have my own theory as to why MacGuffins work well and frequently.  MacGuffins work because people are used to spending their lives chasing something that they don’t precisely understand. Call it bliss or legacy or a missing part of oneself. If one spends one’s life chasing after a key that may or may not achieve one’s desired goal, it would be hypocritical to not have sympathy for characters who do the same.

BOOK REVIEW: The Fault in Our Stars by John Green

The Fault in Our StarsThe Fault in Our Stars by John Green

My rating: 5 of 5 stars

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The title of this novel about the doomed love affair of two cancer-riddled teens says a great deal, and—while lifted from Shakespeare–it’s well-chosen. The lead character is a sixteen-year-old girl named Hazel who has lungs that, as she puts it, “suck at being lungs.” She meets a boy, Augustus, at support group who is in remission, but who had a leg amputated in the process of achieving his momentary cancer-free status. Hazel takes an immediate liking to the handsome and charismatic Augustus (i.e. “Gus”), but remains standoffish because she is–to use her own words–“a grenade.” Meaning that she is going to die young, leaving her loved ones devastated. She has enough guilt about the fact that she will do this to her parents, but is unwilling to subject Gus to the same fate. Augustus, however, is an ardent and skillful wooer and eventually wears Hazel down with his winning ways and selfless acts.

This isn’t a typical read for me by a long shot. It’s written in the language of YA fiction, and it’s brutally depressing in places. Neither of the aforementioned characteristics usually draw me in. However, despite its sad subject matter, the book has a sense of humor that is essential to keep the story from crushing one’s will to continue reading. Of course, the fact that all the major young characters are dying is a cloud ever-present throughout the book. I will say it’s the most viscerally emotional novel I’ve read in some time. The only books this depressing that I’ve read recently were nonfiction works on Pol Pot era Cambodia and the Holocaust.

The strength of the book is its characters. They may be atypically intelligent, clever, and well-spoken teens, but they are intriguing, likable, and well-developed characters. Besides Hazel and Gus, there is a secondary character named Isaac who has a form of cancer that isn’t highly lethal but which does claim his eyes. Hazel and Gus are in one way polar opposites. Gus, the former star athlete, is ever concerned about his legacy, but the less ambitious Hazel believes that everyone fades into oblivion rapidly. These divergent perspectives of similarly doomed youths give one insight into the varied approaches to experiencing one’s mortality.

Another intriguing character is Peter Van Houten, a one-time American writer living in Amsterdam and the heir to a fortune off which he lives as a professional drunk. Van Houten wrote a single book about a person who dies young, which turns out to be based on his own child and is Hazel’s favorite book. Gus reads the book to please Hazel, but becomes genuinely intrigued with its ambiguous ending. Van Houten is an unpleasant character, but his book is a focal point of the storyline. The couple takes a trip to Amsterdam to try to get answers about the novel’s abrupt ending, and this experience proves to be the pivotal point in their relationship. Van Houten–jackass as he may be–does end up passing on some useful wisdom to Hazel and Gus.

I rate this book highly for being readable, captivating, and gripping. I would recommend it for those who don’t usually read YA, though the language and focus is decidedly geared toward a YA audience.

It should be noted that the film adaptation will come out this summer. For some reason they filmed it in Pittsburgh instead of the story’s real setting—and my one-time home—Indianapolis, Indiana. I’ll try not to hold this against it, too much.

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BOOK REVIEW: Dirk Gently’s Holistic Detective Agency by Douglas Adams

Dirk Gently's Holistic Detective Agency (Dirk Gently, #1)Dirk Gently’s Holistic Detective Agency by Douglas Adams

My rating: 3 of 5 stars

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Dirk Gently’s Holistic Detective Agency [DGHDA] is the opening book in Douglas Adams’ second series of novels (what would have been a trilogy—at least–had Adams not passed away.) DGHDA was followed by The Long Dark Tea-Time of the Soul, and that would have been followed by The Salmon of Doubt—though the manuscript was released in its incomplete form along with other random works in a collection by the same name—as publishers are want to make their cash cows rage after the dying of the light.

Adams is most famous for the Hitchhiker’s Guide to the Galaxy [H2G2] series. DGHDA shares the British absurdist humor of H2G2, but is a more genre-bending a work. While H2G2 crosses humor and sci-fi, DGHDA takes those two genres and throws detective and supernatural fiction into the works. The book was billed by the author as a “detective-ghost-horror-who dunnit-time travel-romantic-musical-comedy-epic.” Of these, “horror” is dubious given the fundamental silliness, “epic” is a little grandiose for a work of 300 pages, and the “romantic” and “musical” parts are rather thin.

The title refers to a detective agency owned by Dirk Gently, who believes in the fundamental interconnectedness of all things and is a bit of a con man. Gently is the lead character in a comedic sense, but his straight man–Richard MacDuff–has at least equal claim to being the book’s overall lead. (Just as straight man Arthur Dent leads in the H2G2 books.) Gently gets involve when he discovers Richard engaged in the inexplicable activity of breaking into the window of his (Richard’s) girlfriend’s apartment—a girlfriend with which he has a favorable relationship. This convinces Gently that Richard has either been hypnotized or possessed, either of which makes him a prime customer of Gently’s agency.

The mystery part of the novel revolves around the new owner and editor of a magazine—Gordon Way–who dies, and whose ghost continues to be active in story (even having PoV chapters in this shifting PoV novel.) Richard comes to believe he’s a suspect, although the bungling former editor of the magazine—Michael Wenton-Weakes–is the lead suspect. Of course, the fact that the deceased is the father of Richard’s girlfriend, Susan Way, does encourage the notion that Richard could be involved. Of course, it wouldn’t be much of a who-dun-it if it was a straightforward case of one of these men with motives having done it.

As would be expected of a book by Douglas Adams, it has its moments of hilarity, but it wasn’t as funny as the best of the H2G2 books. The best absurdist device introduced into the book is the Electronic Monk. In an era in which no one has time for believing in things, one can purchase or rent a robot to believe things for one—particularly those outlandish notions that are unsupported by evidence and thus are least worthy of the effort of belief.

The main characters are all sufficiently quirky to be memorable, likable, or both. The characters are one of the strengths of this book. The story is a bit disheveled, probably purposefully so, but it doesn’t make for the easiest work to follow–particularly early in the story when one hasn’t yet got a firm grasp of who’s who and who’s doing what. That said, it’s a decent enough plot, all things considered.

I’d recommend this for those who like humorous speculative fiction.

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BOOK REVIEW: Frankenstein by Mary Shelley

FrankensteinFrankenstein by Mary Shelley

My rating: 5 of 5 stars

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Even if you haven’t read Mary Shelley’s masterwork, you’re probably familiar with the gist of the story. An ambitious, young scientist creates a creature grotesquely emulating the human form, and then abandons it in disgust. The creature, which doesn’t start off as a monster, eventually becomes one as it is subjected to brutal, inescapable loneliness.

The story has been spoofed by Mel Brooks and the Simpsons, and recently a movie came out that is based on a graphic novel that continues the story in the future as the immortal “monster”—played by Aaron Ekhart–roams the Earth. Of course, many of the pop culture references are based on the early Frankenstein movies. These movies made the creature much less nuanced, and told a story that was much less sophisticated. In the movies, Frankenstein’s monster is the villain, but in the novel one is as likely to see the doctor, Victor Frankenstein, as the true villain.

Besides being readable for early 19th century prose, the story is loaded with morality tales that don’t draw attention to themselves—those are the best kind. The first lesson is that joy is in the journey and not the destination. Victor Frankenstein wants nothing more than to create life—except perhaps to marry Elizabeth, a sister-like childhood playmate who is not blood related. As soon as he succeeds in creating life, he abandons his creation and will have nothing to do with the monster.

Second, Frankenstein’s lack of empathy for the wretched creature is the source of his own downfall. This lack of empathy is rooted in the notion that the creature is not human. While perhaps the creature isn’t human (that question itself is one of the great philosophical debates proffered by this book), when Frankenstein’s monster shows himself to have the same longings and frailties as a man, doctor Frankenstein still can’t empathize with it.

Third, decisions made out of fear often lead down a path to damnation. Dr. Frankenstein vacillates between agreeing to assist the monster he detests and refusal to help. After agreeing, he lets his fears drive a turnabout that ultimately damns the monster and himself.

The narrative approach taken is interesting. It’s a story being told within a story. The account is written by a ship’s Captain who rescues Dr. Frankenstein during the doctor’s pursuit of the monster. The explanation takes the form of a series of letters to the Captain’s sister. However, as it’s essentially a transcription of Dr. Frankenstein’s account to the Captain, that’s how most of it reads. We start and end in real-time aboard the ship in the icy north, but the bulk of the book is a retelling of events that occurred in Europe, starting with Dr. Frankenstein’s childhood and revolving around the creation of the monster and the events that ensued thereafter. Part of the story is actually told from the monster’s perspective as Frankenstein recounts what the monster told him.

The main weakness of the book is a slow beginning as Dr. Frankenstein feels the need to tell his life story in chronological order from his boyhood. It’s deceptive to say it “starts slow” because it opens with a great hook. If you knew nothing of the story—as Mary Shelley had to assume of her readers—you would really be curious about the Captain’s description of what the ship’s crew witnessed. It’s really when Frankenstein begins telling his tale that there is some needless exposition.

As one might imagine, there are many elements of the story that strain credulity. Frankenstein’s monster not only learns the language, but learns to speak it with the eloquence and erudition of a highly educated man in a relatively short time period. However, I don’t fault this because it raises the question of what faculties the monster receives from his component pieces. In other words, does Frankenstein really need to learn to read and speak from scratch or does he just need to remember what lays in the transplanted brain (and vocal chords) from which he was built. Of course, this further raises the question of whether he is human, humans, or something different altogether.

This is one of those books that everybody should read, and they should think about what they are reading. This is the kind of book that one can learn from. Mainly, one can learn a lot about how not to conduct oneself by the tragic story of Dr. Frankenstein.

Furthermore, for fans of science fiction, this is generally considered to be where the genre all began. While the movies have been heavily in the domain of horror, the novel revolves around the scientific and philosophical questions, which are much more front and center.

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