The Passage

The Passage by Justin Cronin9780345504975

publication date: 2010
pages: 766
ISBN: 978-0-345-50496-8

In his novel, Justin Cronin explored every possible meaning of his title: the passage of time, safe passage, the passing from life into death, a hallway that takes you from A to B, and even a diary entry. Cronin utilized 766 pages to tell the story of a post-apocalyptic Earth in the not-too-distant future. This Earth was overrun by carnivorous beings that the remaining humans had many names for: virals, smokes, dracs. Basically, they were vampires with 400 pages of back story and a medically explainable origin.

The book revolved around Amy, a young girl with the unique ability to talk to the mysterious vampire-like creatures. The story was epic in scope, encompassing decades and much of the United States. The plot began in the very near future, with the government experimenting with the creation of immortal beings. As time passed, and the setting turned more dystopian and fractured, the story shifted to a West Coast community that called itself The Colony.

In my opinion, Cronin wrote this book to explore – or capitalize on – the vampire myth but in an ostensibly “literary” way. The book included many themes, including ruminations on death, time, and fatherhood. It also introduced seemingly logical explanations for what was happening, like a virus that hyper activates the thymus gland. The book was also written from many points of view, all with their own thoughts and motivations. Additionally, Cronin supplemented the narration by including maps, diary entries, academic findings, and the like. Obviously, a lot of time and effort went into the formation of The Passage.

However, with all that effort Cronin put into it, the book didn’t always work. It was too long, with too many twists and turns. It was like watching a Pixar movie, where the characters had to go through numerous pointless adventures. I found myself bored often. Not only was the plot sometimes monotonous or senseless, the abundant meditations on the book’s themes were repetitive. I read what seemed like dozens of paragraphs that were variations on this theme:

His whole life Peter had thought of the world of the Time Before as something gone. It was as if a blade had fallen onto time itself, cleaving it into halves, that which came before and that which came after. Between these halves there was no bridge; the war had been lost, the Army was no more, the world beyond the Colony was an open grave of a history no one even remembered.

Starting about page 425, I was wondering if the book needed to be as long and convoluted as it was; by about 600 I caught myself skimming just to get the book over with; and at about 740 I was bewildered as to the point of it all.

The book wasn’t bad, and it had some interesting parts. If you like reading hefty tomes with plots that never quit, I would absolutely recommend this. It could keep you busy for a while.

4/6: worth reading

other reviews:

New York Times
Los Angeles Times
The Nerdist

Taduno’s Song

Taduno’s Song by Odafe Atogun9781101871454

publication date: 2016
pages: 234
ISBN: 9781101871454

In this slim novel, Odafe Atogun presented a surreal Nigeria. One in which political prisoners send letters without anything leaving their jail cell, guitars have the power to condemn someone to death, and the dictatorial Nigerian president declares all forms of music to be illegal. Taduno’s Song followed singer-in-exile Taduno as he attempted to rescue his girlfriend from prison in Lagos, Nigeria. Taduno’s main weapon was his music. He used it to convince, to calm, and to protest. His crusade was hampered, however, by the fact that no one, including his family and friends, remembered who he was once he returned from exile.

The book used absurdist and magical realist themes and story lines. When Taduno was in exile, all the houses at the town he was exiled to were empty and open for him to use. When a music producer’s Afro was cut off he seemingly lost all his power. The entire story was an epic battle for Taduno’s music, which was used to accomplish almost anything. I wasn’t sure if I was supposed to read these off-kilter plot points as important to the story or as symbols for something else.

Because the book included a lot of absurd or non-logical events, places, and characters, it was difficult for me to care about the plot. I often wondered, when does something move from “magical realism,” to “nonsensical?” If anyone might do anything at any time, because there were no rules, why would I care about these particular people? The characters were also often indistinguishable from each other. There was the evil President and the pure and good girlfriend of Taduno, but beyond that, the dialogue could have been spoken by anyone.

The book did explore compelling themes. A main theme was the capacity of the work-a-day person to forget atrocities that happened in the recent past or were currently happening. After Taduno was exiled for making music, the people of his country literally were unable to recall anything about him. Another theme was the ability of art to make a real difference in people’s lives, by fighting the government or creating unity among a people.

Atogun also had flashes of brilliance regarding corruption and power. For example, this exchange, between Taduno and the President, after the President had him arrested for playing guitar in the street:

‘You believe my order was unjustified?’
‘Yes. It violates my right to make public music.’
‘You do not have rights. No one in this country has rights. This is not a civilian regime, this is a military regime, see?’ The President smiled triumphantly.
‘Well, I want my rights. Every citizen of this country wants their rights.’
The President shook his head in astonishment, unable to understand why anybody wanted rights under a military regime. He laughed in amusement.

Although Taduno’s Song had some interesting or effective elements, generally the nonexistent characters, wacky plot, and inconstant writing made the book dull to read.

3/6: more good than bad

other reviews:

Book Page
Read in Colour blog
Brittle Paper

House Of Rain

House Of Rain by Craig Childs9780316067546

publication date: 2006
pages: 496
ISBN: 978-0-316-60817-6

In House Of Rain, Craig Childs presented a piece of reportorial nonfiction, interwoven with narrative travelogue. For several seasons, Childs trekked the southwestern U.S. in order to discover for himself the world of the native people who inhabited that land before Europeans. Childs moved through New Mexico, Colorado, Utah, Arizona, and northern Mexico, often on foot, to follow the centuries-long migrations of a people he usually called “Anasazi.” There is some controversy surrounding the term Anasazi, both because there is disagreement about how large their territory actually was and because Anasazi, a Navajo term, can be objectionable to modern-day Pueblo people – who instead may use the term “Ancestral Puebloans.” Childs used this phrase sometimes, along with another – Hisatsinom – that is used by contemporary Hopi. Childs explained his use of the word Anasazi and used other words when he thought it was appropriate.

House Of Rain described Childs’s travels as he explored cliff dwellings, seemingly uninhabitable gorges, great Anasazi kivas, and active archaeological digs. His travelogue writing was compelling, although often pretentious. A good example was this passage, when Childs was exploring Anasazi construction on what is now a national park:

A cascade of flute music emanated from speakers tucked among the ceiling beams. I stood still for a moment, a little surprised, recognizing immediately that the music was played not on a Native American flute, but on a traditional Japanese shakuhachi. . . . This kiva was tangled in eclectic ancestry, unrelated histories passing in and out of each other, brought together by this place. What was it Einstein said, that time and space are the same entity? Does that mean that if you stand in one place and are a keen enough observer, you can see clearly through time’s entire lineage?

His discussions of the Anasazi people could also be self-serious or extravagant, but he did present many interesting facts about their daily lives and viewpoints. Here was his discussion of Kinishba, a vacated Anasazi compound:

I sensed manners and social regimentation in the way the site was laid out. It was not the monastic atmosphere I had once imagined in the halls of [another compound called Chaco], but a busy, orderly setting, an urban trade center. Everyone had a place, some families having doorways that opened prominently onto plazas, others living in smoky, poorly lit rooms deep in the pueblo’s interior.

The nonfiction account of the Anasazi people and Childs’s descriptions of his expeditions was often woven together effectively and he presented a convincing case that the land he was exploring needed to be walked or hiked to ever understand the Anasazi people.

Childs’s tone was often dense and he imbued even the smallest event with meaning. However, he created a generally compelling and informative work.

4/6: worth reading

other reviews:

Orion Magazine
Ms. M’s Bookshelf
Light+Space+Structure blog

Dead Until Dark

Dead Until Dark by Charlaine Harris9780441019335

publication date: 2001
pages: 312
ISBN: 978-0-441-01933-5

Dead Until Dark was the first book of the Sookie Stackhouse novels, which were the basis for the HBO show True Blood. I haven’t seen True Blood, so I don’t know how close the show reproduced the book. Dead Until Dark introduced Sookie Stackhouse, a dotty, Louisiana waitress who had a few secrets tucked away. First, she could read minds and second, she wanted to meet a vampire. Lucky for Sookie, the world created by Harris in Dead Until Dark conveniently included vampires – a subset of humans who had recently come out from the collective coffin a few years before we met Sookie at Merlotte’s bar.

The book was a mashup of genres: mystery, romance, fantasy, gothic, humor. Unfortunately, Harris didn’t represent any given genre very competently, although the combination did create a generally compelling story. It was a quick read, and I was intrigued enough, although I couldn’t quite pinpoint why.

The book was supposed to be quirky and funny. Sometimes that worked, like when Harris named the fictional local gas station the “Grabbit Kwik.” Often, it did not work, as in this description of a person whose mind Sookie was attempting to read:

I couldn’t hear his thoughts as clearly as I could other people’s. I’d had waves of impressions of how he was feeling, but not thoughts. More like wearing a mood ring than getting a fax.

The book was also supposed to be sexy. The sexiness, which was often odd and blunt, surprisingly worked for me. One of the first things that a vampire said to Sookie, after she surrounded her neck and arms with anti-vampire metal chains because she didn’t trust him not to bite her, was:

“But there’s a juicy artery in your groin,” he said after a pause to regroup, his voice as slithery as a snake on a slide.

Although reading Dead Until Dark was usually painless and uncomplicated, the book left much to be desired. The dialogue was pretty bad. There was this scene, where a character was trying to convince Sookie that she wouldn’t be able to read his mind:

[He said, “Would that be] relaxing to you?”
“Oh, yes.” I meant it from my heart.
“Can you hear me, Sookie?”
“I don’t want to try!” I said hastily. . . . “I’ll have to quit if I read your mind, Sam! I like you, I like it here.”

Also, the action was often confusing and underwhelming. And, although Harris peppered the book with some passages that reminded the reader that the book was set in the South, generally, Harris’s lack of effective description seemed like a waste of the rich Southern setting.

Although the book wasn’t terrible, it didn’t intrigue me enough to induce me to read the other books in the series or to watch the TV show.

3/6: more good than bad

other reviews:

Russ Allbery’s reviews
TechRepublic
Pretty Little Memoirs

Small Gods

Small Gods by Terry Pratchett9780062237378

publication date: 1992
pages: 386
ISBN: 978-0-06-223737-8

In Small Gods, Terry Pratchett lampooned religion, God, gods, and the certainty and absurdity of men (and I mean men; basically none of the characters were female). Generally, Pratchett’s mockery was successful, and the book became more than just a send-up of humanity’s foibles.

Almost certainly, the book’s ultimate goal was to show the folly of religion. Pratchett’s plot, style, characters, and setting were all used to further that goal. Within the book, Pratchett created a fictional, long-established religion: The Church of the Great God Om. The country of Omnia was ruled by the Church and the Church dictated the laws of all Omnians. Pratchett introduced us to Brutha, a slow-witted and good-hearted Omnian monk who accidentally stumbled upon a quest on behalf of the Great God Om. Pratchett also presented Vorbis, a leader in the Church and an all-around bad guy. Finally, Pratchett introduced Om, the once-great god who remembered the days when he was powerful enough to smite enemies and sacrifice believers but who now, because of a decrease of faith in Omnia, is only a one-eyed tortoise who reluctantly relies on Brutha’s help.

Pratchett didn’t always take his plot too seriously. His writing style was satirical and clever. The pages were covered in jokes; some of which worked and some of which didn’t. Many of the jokes were at the expense of religion or the idea that human knowledge and certainty is anything less than ridiculous. For example, here was an exchange Brutha witnessed when he first met the learned philosophers from the country of Ephebe:

The [philosopher] called Xeno stepped forward, adjusting the hang of his toga.
“That’s right,” he said. “We’re philosophers. We think, therefore we am.”
“Are,” said the luckless paradox manufacturer automatically.
Xeno spun around. “I’ve just about had it up to here with you, Ibid!” he roared. He turned back to Brutha. “We are, therefore we am,” he said confidently. “That’s it.”

Although Pratchett used his plot as a tool to convey his message and showcase his cleverness, he did give the story a beginning, middle, and end, and I was usually invested in what was happening with Brutha, Vorbis, and Om. The story was too long, however, and became repetitive and dull. Also, Pratchett would sometimes write with such heavy irony or such deliberate passivity that the action was confusing and the story was unclear.

Also, the whole book left me with a vague feeling of bewilderment. Parts of it were funny or interesting, but it all seemed pointless. If Pratchett wanted to convince people of his anti-religion message, surely a heavy-handed book making fun of religious people wasn’t the best tactic? But if Pratchett instead wanted to entertain those who already believed in the stupidity of religion, than the whole book was like an echo chamber, full of self-congratulatory jokes.

With that said, the book was funny, clever, and filled with details plucked from Pratchett’s active imagination. Go ahead and give it a whirl, if you want.

4/6: worth reading

other reviews:

Faith Fusion
The Narratologist
SF Reviews

Early Civilizations Of Southeast Asia

Early Civilizations Of Southeast Asia by Dougald JW O’Reilly9780759102798

publication date: 2007
pages: 235
ISBN: 978-0-7591-0278-1

I picked this book up because I was interested in the Pyu people of modern-day Myanmar. In Laura Bush’s memoir, which I reviewed, she discussed how the Pyu were a nonviolent people who created a good template for living. I had never heard of the Pyu and was intrigued by her description. I searched Wikipedia but didn’t find much information. Wanting to find out more about the Pyu, I found the only book at my local library that discussed the Pyu in any detail: Early Civilizations Of Southeast Asia.

This book read like an expanded dissertation paper. It was dry and filled with quotes from other sources. The author didn’t attempt much interpretative writing or analysis. Also, the discussion was filled with words and terms that I wasn’t familiar with, which the author didn’t define and couldn’t be understood from the context. For example, these sentences, from a short discussion of the climate of the region:

At the higher elevations the increased rainfall changes the character of the forest, creating a canopy where little sunlight penetrates to ground level. Here the arboreal animals dominate the faunal spectrum.

Honestly, I kinda liked the phrase “the faunal spectrum” – it had a quirkiness; but it seemed flashy and redundant in this context.

Perhaps ironically, O’Reilly’s discussion of the Pyu did not mention any of the things mentioned by Bush: the pacifist culture that might herald a better way of life. So, either Bush – and others – was mistaken, or O’Reilly didn’t think that aspect of the Pyu was important enough to mention. Granted, O’Reilly didn’t discuss much of the culture or daily life of the Pyu people, whether nonviolent or not.

The book included some interesting tidbits. For example, Pyu people built their houses out of lychee and decorated their teeth with gold rosettes. However, the interesting parts were rarely discussed in any detail or even strung together to form a compelling picture of a people. As I was reading, I wished the whole thing was linked like an online article so I could learn more. For example, how did they use the lychee? Did they dry it? Is lychee a tree? I’d heard of it, but only as a fruit.

The book was well-researched and hopefully accurate. I would say I was simply not the audience. Academics looking to write a paper or thesis on this topic will perhaps cite this book, although I would not recommend it for reading, or even to gain a better understanding of these older cultures.

3/6: more good than bad

No other book reviews as such, although people have reviewed the book on Amazon and Good Reads:

Amazon
Good Reads

Fables: Legends in Exile

Fables: Legends in Exile by Bill Willingham9781563899423

publication date: 2002
pages: 119
ISBN: 978-1-56389-942-3

In Fables, creator Bill Willingham presented, in comic book form, an alternate ending for all those stories we heard as children. What if, instead of “Happily ever after,” all the characters in the fairy tales were driven out of their idyllic homelands by a villain of pure evil and forced to spend eternity living in Manhattan? Volume One of Fables, titled Legends in Exile, collected the first five issues of the comic and introduced us to Fabletown, a Manhattan enclave where all the fairy tale fables lived. These included Snow White, deputy mayor of Fabletown and competent administrator; Bigby Wolf, the big, bad wolf in human form, who now uses his powers for good as Fabletown sheriff; and Prince Charming, a triple divorcee and unscrupulous womanizer. Legends in Exile also introduced The Adversary, the mysterious evil force who chased all the fables out of their kingdoms and into the New World centuries ago. The plot of Legends in Exile followed Sheriff Bigby Wolf as he attempted to solve the murder of Rose Red, Snow White’s younger sister

This comic contained a lot of good things. I though it was especially effective when it showed the fables actually inhabiting New York City and surrounded by New Yorkers. For example, there was a scene where Prince Charming was walking his new conquest back to her apartment; as they were walking they were surrounded by very detailed background New Yorkers, including a door man with a soul patch and a woman wearing John Lennon glasses and carrying a baguette as she waited to cross the street.

Bigby Wolf’s character was also a lot of fun. His face was always drawn in partial darkness, giving him a sinister edge. And, in at least one panel, his shadow is drawn as the silhouette of a wolf, even as Bigby is in human form. In fact, most of the images throughout the volume were compelling and memorable. The faces were intricate and drawn with emotion. The panels included lots of great details. Also the color tones were really effective at showing emotions and feeling.

However, Legends in Exile definitely had some flaws. First of all, everyone was white. I noticed one black character, and he was in the background, without any place in the plot. Secondly, as is a problem with many comics, the boobs were ridiculous. Every female character, if she was seen from the front, had large, round, and floaty boobs displayed for all to see at least once in the comic. I guess not every female character: they didn’t show the elderly black forest witch’s cleavage.

Also, the dialogue was not always compelling. Facts about the characters or plot were often presented in a rote manner, and with unnecessary bluntness. For example, here is how we get introduced to the character of Rose Red, within a conversation between Bigby Wolf and Snow White:

[Bigby Wolf:] You need to prepare yourself for some bad news, Snow.
[Show White:] Don’t be so dramatic. I already know. My ex is back in town. . . .
[Wolf:] This isn’t about Prince Charming. It’s about your sister, Rose Red.
[Snow:] This may surprise you, Mister Wolf, but I’m not entirely an idiot. I actually know my sister’s name. So what’s she done this time?

Also, the plot came off the rails sometimes, although I won’t go into specifics because I don’t want to introduce any spoilers.

Overall, this was a fun comic, which would probably be a good introduction for those who are looking to read more graphic fiction. I’ve continued to read subsequent issues of Fables, if that’s any indication.

4/6: worth reading

other reviews:

Pop Matters
The Literary Omnivore
PFS Publishing Book Club blog