Friday, January 31, 2014

Rocket Robinson and the Pharaoh's Fortune by Sean O’Neill





Title: Rocket Robinson and the Pharaoh's Fortune
Author: Sean O’Neill
Publisher: BoilerRoom Studios
Rating: worthy!

DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

Here it is: THIRTY ONE TITLES IN THIRTY ONE DAYS - and they said it couldn't be done!

This is a comic book or graphic novel adventure featuring Ronald, aka "Rocket" Robinson on the trail of treasure and villainy in early 20th century Egypt. The novel appears to be written for a pre-young-adult audience and in general it's a pretty good adventure for the age range, with mystery, thrills and dangerous adventures. I'm willing to rate this as a worthy read, but I do want to highlight some problems I saw in it.

I found it a bit sad that the villain is made 'villainous" by means of giving him only one eye (the other is covered by a patch, and making him bald. I know a graphic novel has to portray the villain somehow, but it was taking rather an easy and clichéd out by drawing him thus. That aside, the artwork is really good, and the lettering is done neatly and very legibly, which I always appreciate! I'm not sure of the point of his monkey, but at least it doesn’t talk. For me, it (and many points in the story in general, for example, the chase across Cairo) were far too reminiscent of Disney's 1992 Aladdin movie.

Rocket begins his adventure traveling by train in Egypt, and he's bored with nothing but sand to look at. He quickly learns of some evil machinations, but his dad - who looks way too young to be an important official for the US State Department, doesn’t believe him, of course. It would be nice to see one of these tales where the father does believe, or where he 'believes' but only that his son is playing a fantasy game.

The richness of their rented house in Cairo doesn't seem to match (on the inside) the appearance of the house on the outside! That was a small oddity, but it's an accumulation of oddity and incongruity which can trip up even a good story. For example, the pigeon English spoken by one of the villains is bad. He wouldn’t speak English to himself and his own thoughts in his native language would not be pigeon! That felt a bit klutzy to me. Worse than this, though, was the "gypsy" girl who speaks perfect English even though she's living on the street in Cairo. That seemed unlikely at best, and although 'gypsy' was probably the term which was used back then, it would have been nicer to see her correct his employment of that term with a more accurate and less weighted description, such as Romany or Traveler.

But these qualms aside, the story is interesting and moves quickly and with determination despite some unlikely events. Rocket ends up with a paper with hieroglyphs which make no sense even to an expert. The eye-patch villain, Otto, is trying to recover it and villains under his employ kidnap Rocket. There's really no reason for this since they only want the note that he can’t read, and he has a copy so he has no reason not to give it to them, especially since they do get it in the end.

One panel depicts a misspelled version of Archaeology in "Archealogy Digest" on page 111. Maybe it’s not a journal of archaeology but of the study of an ancient form of bacteria called archaea?!

I did like the cool code-breaking by Rocket - this would definitely have impressed me were I in the intended age range, but then we hit the downside of the improbability of having a canal under the Nile - into which the Nile drains! It would flood! The Nile would empty! But I'm betting that most children in the intended age range would not be so critical, so perhaps I should not be either! There was lots of daring action, and thrilling escapes from some rather sneaky pyramid booby traps, but our heroes were no boobies, and they successfully navigated them all, supporting each other and sticking together to the end. Overall, this is a great romp for age-appropriate audience, delivering lots of fun and offering a good ending. When all's said and done, I rate this a worthy read!


Quincy and Buck by Camille Matthews





Title: Quincy and Buck
Author: Camille Matthews
Publisher: Pathfinder Equine Publications
Rating: WORTHY!

Illustrated by Michelle Black


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

Michelle Black's artwork in this novel is beautiful. I do not know how she did it exactly, but it looks like it's oil on canvas (for all I know, it may well be!). The painting at the end, which made Quincy look like he was smiling without making it look absurd was absolutely priceless.

My apologies to the author, but in a book like this, it's the artwork that makes the first impression! But rest assured it's not all art and no substance to the text. The story is excellent too, teaching valuable lessons about bullying and bravery as young Quincy and the older, rather meaner Buck take their riders out onto a desert trail for a nice day's ride. There's no preaching here, no strident lessons, simply a tale as soft and easy as a comfortable horse-ride on an old and familiar saddle.

I defy anyone to not like this. I rate it a worthy read.


Thursday, January 30, 2014

Angels by Alexis York Lumbard





Title: Angels
Author: Alexis York Lumbard
Publisher: Wisdom Tales Press
Rating: warty!

Illustrated by Flavia Weedn


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

This is a children's book, mostly art with a line of poetry here and there, for children's sleepy-time (not bedtime! heaven forbid! Children will sleep when and where they want - just be sure to have this or something like it ready for when and where they're ready!

I'm not a believer in angels or a fan of stories about them - and particularly not young-adult angel stories! (that is until and unless I write the definitive angel story!), but young children are a different thing altogether, for which we all should be ever grateful. They need to have their imaginations titillated at every opportunity otherwise they'll grow up to be cantankerous curmudgeons like me! So if this is your thing, you might like to try this one, although I am not able to recommend it. There were several issues that I had with it.

The first is that the formatting is totally trashed on Kindle (at least this review copy was on mine), so I had to read it in Adobe Reader. The second is that I simply wasn't impressed with the text or the artwork. I'm not the intended audience and young children - the audience for whom this is intended - will probably not care, but it didn;t look very good to me. There's no real story as such here, just a simple rhyme which young children might find appealing, but it didn't seem to offer enough, for me.

This book is promoted as non-denominational, but I found that claim to be rather disingenuous. Angels appear in one form or another in several cultures, but they really are a very Christian fiction, especially these days, and especially as depicted here, in a western setting. I would have liked it better if the settings were more culturally diverse: if the angels were depicted as a variety of ethnicity, and were depicted as people doing more worthy tasks than floating around in clouds: not only nursing (which is depicted), but also soldiering, policing, and so on, and not even just the services for which we're normally grateful, for that matter; a school bus driver and a crossing patrol might have looked good here, too, amongst other things. As it was, the angels were not depicted doing much good at all.

It was really sad that the artist showed us nearly exclusively white, Anglo-Saxon "Catholic" angels, and the writer and publisher let her get away with it. Given that the bulk of the world's population isn't white, that seemed rather inappropriate to me, and misleading to children, so for this and the other reasons I've discussed, I'm do not feel comfortable in giving this story a worthy rating.


Damaged by Alex Kava





Title: Damaged
Author: Alex Kava
Publisher: Brilliance Audio
Rating: WARTY!

Narrated ably by Eby - Tania Eby that is - although her delivery isn't anything to write home about. She might do better with better material.

Damaged is a really apt title for this disaster of a novel. Brain-Damaged might be a better one. You know how writers are always lectured to start at the beginning - i.e. start where the action (aka story) starts? Kava ignores that and gets published anyway, which just goes to prove that anyone who writes rules about how you should write (and not a one of those rule-writers is anyone you ever heard of!) is full of it, period! It's not your writing style that matters; it's who you know and what you can get away with. Keep that in mind now we can all self-publish.

This is my first Alex Kava, and also my last. I'm not impressed at all. She is one of the most procrastinating and plodding writers I've ever read in my life. She simply cannot get this story started. She writes on and on and on for chapter after chapter with not a thing happening. Her digressions are all over the place and not a one of them moves the story forwards. Perhaps she has a plan to tie them all up in a neat bow at the end, but at this point I really don't care, because I'm so sick of her tedious drunken rambling.

By chapter nine, we still didn't even have the body and the investigator in the same state, let alone the same room. Kava starts the first two chapters with rambling nonsense about how the body is discovered - not a crossed 't' or a dotted 'i' of which is relevant. It's a cut-up body in a cooler! So we couldn't start with the main character opening it up? Nope, we had to start with an entire chapter rambling mindlessly about a female newbie in the coastguard having to prove herself by showing how idiotic she was that she went down to recover a floating cooler in rough seas where no lives were at stake. I sincerely hope our coastguard is smarter than this and our women in the coast-guard service are not this pathetic. And what was the point of this chapter - other than to lecture us about the thing we already know: women have to play by different rules, that is? There was none. I was nauseated, but it wasn't from the rough seas.

So do we get right to it in chapter two? Nope! In chapter two we get the so-tired-that-it's-sawing logs cliché of an overworked criminal profiler who has other issues, too. She can't sleep. She's in trouble with her boss. She's a mess. Oh, and she has a dog! So having begun with the overworked cliché of an overworked cliché, will we see a concluding cliché of her sleeping soundly? I honestly couldn't care less about her. At one point she ends up in a helicopter with the coastguard rescuing some idiot off a wrecked boat for absolutely no reason whatsoever that I could see. Maybe there was a sentence in one of those tiresome tracks which I skipped which explained it, but I had no interest whatsoever in skipping back through ninety-nine tracks per disk (yes, it was one of those) on the off chance that I could locate this one pertinent fact in a monotonous miasma of irrelevancy.

I am rating this warty before I finish it because after three disks (of a total of five), I see no merit in it at all, nor any sign of any. The only reason I was likely to finish it was that I didn't yet have my replacement audio-book, so I thought I might as well see if this was ever going anywhere remotely in sight of an intelligent conclusion, but I couldn't even manage that, because I became so tired of listening to it gong nowhere. This novel is definitely warty!


Wednesday, January 29, 2014

The Devil Rides Out by Dennis Wheatley





Title: The Devil Rides Out
Author: Dennis Wheatley
Publisher: Prion (GB)
Rating: WORTHY!

I review the Devil Rides Out movie here.

This is one of several novels this year that I will be re-reading and reviewing. This one is probably my all-time favorite satanism volume. I'm not a fan of Dennis Wheatley: the man was way too much of a snob for my taste, and I'm not even a fan of all of his black magic novels, but this particular one is really good for its time. Indeed, Wheatley is just as deserving of the slur aimed and the creator of James Bond ("sex, sadism, and snobbery") as Ian Fleming is. Wheatley just has a little more snobbery and somewhat less sex and sadism, although that latter is arguable. Wheatley himself was an obnoxious and despicable royalist who actually advocated violence and even assassination in protecting the nobility and keeping the lower classes in their place.

This novel is written very much in the tradition of the swashbuckling adventures of some well-known novels which are even older than this one is (this was published in late 1934), and which feature a redoubtable team which is in the end, successful in its quest. There was the Three Musketeers, which strangely featured four guys, Aramis, Athos, D'Artagnon, and Porthos. Bram Stoker Chimed in with Dracula, which featured Jonathan Harker, Arthur Holmwood, Quincey Morris, Wilhelmina Murray, John Seward, and Abraham Van Helsing. In more modern times we've met in comic books and on the silver screen the four Avengers and their side-kicks. And there was of course Frankstein which featured Vic, Tor, Frank, and Stein....

Now comes Wheatley, piling on with his team of Simon Aron, Tanith Carlisle, Marie Eaton, Richard Eaton, Le Duc de Richlieu, and Rex Van Ryn. You might like to note the similarities with Stoker's characters, in that Wheatley brings to the table a nobleman, just as Stoker does, someone of Dutch ancestry, as Stoker does, who is also American, as Stoker does, and a married couple, as Stoker does. I have no idea if this was intentional or simply a coincidence. It's also interesting that a phrase (Gateway to Hell) and a chapter title (The Satanist) from this novel were re-tasked for use as novel titles for future satanic volumes from Wheatley.

The Devil Rides Out begins with a friends' reunion, but there's one person missing. The Duc de Richlieu, his young American friend Rex Van Ryn, and their young English friend, Simon Aron get together once a year for a reunion to celebrate their friendship and their survival of a story told in a previous (non-satanist) novel written by Wheatley (actually, it was his very first novel, a run-away best-seller titled The Forbidden Territory, to which this supernatural volume was a sequel). So this year, Simon has canceled, and neither the Duc nor Rex can understand why he would reject such an important reunion. They decide to visit him to find out why, and that's where things start going south in a hurry.

After mingling with the guests at Simon's "party", the Duc realizes that this is a coven of thirteen - a satanist coven. The way he arrives at this conclusion is through the most appalling bigotry and callousness on the part of Wheatley, by his noting, for example, that a man was missing his right hand, leaving only the left (the path of satanism is the path of the left hand; you know, 'sinister', and other bigoted assumptions). Their leader Damien Mocata, is fat. Another member is albino. Another has a hair lip. In short, the Duc's "assessment" arises solely from Wheatley being downright mean and nasty. You have to either let this go - keeping in mind that while it isn't right, this book was written the better part of a century ago (and Wheatley was a royal snob!), or you have to say no more! The choice I made was that this is fiction and these elements are just as pathetic as the entire idea of satanism and black magic, so I continued to do as I did when I was a naïve young adult myself and I first read this: I let it go for the sake of enjoying the other parts of the novel. So moving right along, then: under the ruse that he would like a minute to see Simon's little observatory up in the roof, the Duc hustles his young friend upstairs where he confirms his suspicions.

Acting precipitously, the Duc knocks Simon out and has Rex carry him out to the car, where they beat a hasty retreat to the Duc's flat. Once there, he hypnotizes Simon, sending him to bed protected by a swastika, which causes Rex consternation, since Simon is Jewish by heritage and apparently practices Judaism. The bizarre thing about that, is that there's a lot of mumbo jumbo about Jesus Christ in this novel, in the context that he is the son of a god, and Simon makes no objection at all to that! I think this is another example of insensitivity of Wheatley's part. He simply cannot grasp that there are other cultures which are at odds with cozy western religious fiction. The Duc explains to Rex that he had no choice in his actions (abducting Simon) once he learned what was at stake here, and Simon wouldn't listen to reason. His plan fails however, as Mocata calls Simon back to him from the Duc's care, and when Rex and the Duc return to Simon's house to recover him, no one is there save for an evil spirit which incarnates in the observatory after the Duc discovers an invaluable and ancient magical tome hidden there. The two of them barely get out with their lives. Now Rex has lost his skepticism!

The next day, Rex is tasked with trying to get a line on Simon's where-abouts by tracking down and chatting up the exotic young Tanith, a woman he met at the party at Simon's, and whom he has seen several times over the preceding couple of years, but only in passing. He manages to lure her out to the Duc's riverside country residence where they spend an afternoon together falling in love, but she cannot tell him where Simon is. She does tell him that she's a clairvoyant, and that she has seen that she has less than a year to live. Her powers are why she is so vitally important to Mocata, and before long, she tricks Rex and steals his car, leaving him stranded. That night is Saint Walburga's night (the original Black Sabbath!), and all of the covens will be meeting in the wild for an orgy and the casting of spells. Fortunately, the Duc has tracked down where it will be held and he heads over there with Rex, still intent upon saving Simon.

The two of them stage what is really a quite dramatic rescue (better than the movie depicts), and the three of them overnight at Stonehenge, supposedly protected from evil by the centuries of worship carried out here. I find that a stretch! Rex and the Duc sit and smoke a cigar (another snobbish trait of the Duc's which is reminiscent of James Bond's obsession with brand names). This seems odd because later they go eat a large breakfast and at the same time send a telegram to their friends, the Eatons, whom they intend to park themselves with, that they must eat no lunch! I don't get this business at all. These are the people who acknowledge Jesus Christ, who drank wine at the last supper, and they telegram their friends not to eat lunch, and later to avoid alcohol, after they themselves have smoked cigars and had a whopping breakfast. And why telegram? The Eatons have a phone! Yes, even successful authors routinely screw up; it's really nothing to be afraid of!

Moving right along, the group show up at the Eatons now tasked with convincing them of what has happened. Simon is wearing the most absurd of outfits, since he had been naked at the sabbat, and the only place Rex could "knock up" was a sports outfitters. Yes, in those days the lackey of a store keeper lived above the store and never had any objection to rich folk yanking(!) them out of bed at ungodly hours so they could ransack his store. Nor was money ever a problem for any character in this entire novel no matter what their circumstances! That simply doesn't remotely explain why he chose such a bizarre collection of clothes. I guess this is Wheatley's idea of a sense of humor? Anyway, Marie Lou is the easiest to convince since she's the most gullible, having been raised amongst outrageously superstitious peasants in Russia. Richard is much more of a hard sell, but the blatantly juvenile tales which Wheatley uses to 'convince' them, is the real joke here. There is a built-in assumption that every oddball and wacky tale of the supernatural is true! The funniest part is that Richard is supposedly the skeptic, but he clearly isn't, since he's making half of the Duc's arguments for him. All of these people in this little team swallow all of this satanist nonsense with barely a hint of skepticism to be found, but I guess this kind of writing worked in the 1930's. Indeed, it still does today in woefully many novels!

The Duc once again vanishes. His plan is to try and get some holy wafers, which would undoubtedly protect them no matter what Mocata did. How a cracker which some deluded people think is the actual body of a dead 2,000 year old Jewish rabbi would be of value is a mystery, but for some reason it takes all day for the Duc to visit one church (where the priest isn't even at home) and procure some supplies. In his absence, Tanith, who did not make it to the sabbat, phones Rex and he runs off to meet her abandoning his team for love! He doesn't return until the next day. Richard is upstairs watching over Simon as he sleeps, and poor Marie is left to face Mocata, who shows up unexpectedly at the house. This is one of the best scenes in the entire novel. In fact, I love this whole next section. Despite being quite an objectionable little man in appearance (so Wheatley tells us), Mocata has oodles of charm, and is in process of hypnotizing Marie just from the power of his voice, until their daughter, Fleur, bursts in unexpectedly and breaks the link, whereupon Marie Lou and her husband throw Mocata out. He tells them that he's not done with them. This scene really creeps me out! It's just as creepy in the movie.

The next part is one of my favorites in any book I've read. While Rex is off, deciding to keep Tanith away from Simon so Mocata cannot use her as a medium to overcome his friends, the Duc returns and draws a double chalk circle on the floor of the octagonal library. Within these two boundaries he draws a pentacle (although frankly, I am not convinced that that is technically feasible, although I've never done the actually geometry) and writes some Latin mumbo-jumbo, drawing some signs from several languages and cultures. Why a Latin phrase is supposed to be more powerful than the same thing said in English (or Hebrew, or Aramaic, for that matter) is a complete mystery not confined to Wheatley. It's common to all novels of this type. The most laughable fiction in the entire Harry Potter series, for example, is that shaking a stick and saying one or two Latin words makes amazing magic happen!

The Duc lights five candles, one at each point of the star, and fills a silver bowl with holy water at each valley. He, Richard, Marie, and Simon are within this protective pentacle. Why it's believed that candles and water and chalk can protect them from evil is a mystery, but apparently it works. It's more of a mystery as to why the Duc doesn't feel that the servants and the couple's young daughter need protection, and it's this which will come back to bite them in the morning.

The night passes amazingly: what's in the novel is much better than what's in the movie. Wheatley definitely does have a flare for the creepy and dramatic in his writing here. The assaults on the circle are creepy, and inventive. they start slowly, almost innocently and culminate in a visit from the Angel of Death himself, who, unlike in the movie, is invisible; his horse is the only thing you can see. The Duc repels this visit by calling out he last two lines of the Sussamma Ritual which must never be used unless the very soul is in peril! If they're that crucial, why are they even part of a whole ritual, and especially why are they the last two lines?! Wheatley describes the effect of uttering these words as putting the four of them into he fourth dimension, which he equates with the sky, since they find themselves looking down on the Eaton's home. Next thing they're back again, and poor Rex arrives with dead Tanith in his arms. She paid the price for Mocata's using her to call up the angel - who of course cannot return without a soul in hand.

Mocata has evidently used the time of their trip into the fourth dimension to kidnap poor Fleur (who is unaccountably named 'Peggy' in the movie, and who is older, for some reason - perhaps because an older girl is easier to film than a much younger one?). Simon talks the Duc into calling Tanith's soul back - not to reanimate her corpse, but to see if her soul will help them to locate Mocata and Fleur. A smokey haze in the form of Tanith appears over her body, and she reveals that Mocata plans on going to France (why, isn't explained), and that he intends to sacrifice Fleur to recall Tanith's soul to her body in the age old law of a life for a life, a soul for a soul. Why any god would set up an idiotic law like that is wisely left unexplored in this novel!

Next comes a chase across Europe, reminiscent of the chase in both Frankenstein and in Dracula, except that these guys are in a small airplane. Just as in Dracula, it culminates in an ancient chapel. As the chase is pursued, Marie dreams she is reading a skin-covered book whilst wearing an "iron circlet" on her head. Nothing useful is made of this until she is able to defeat Mocata when no one can by the simple means of saying (and in English yet! See, it does work!) "They only who Love without Desire shall have power granted to them in the Darkest Hour" (sic) and finishing off by uttering a five syllable word, which Wheatley doesn't share with us. Never was there a more deus ex machina moment in a novel! Suddenly, they're waking up in the pentacle and Rex arrives with Tanith in tow - and she isn't dead, meaning that Mocata must be. The Duc reveals that a Lord of Light has reversed time itself for them all because of that blesséd Sussamma Ritual.

However, despite several issues I have with this novel, I still like this story in general, and consider it one of the best satanist/supernatural/magical novels I've ever read. Some of Wheatley's other such novels are good (I haven't read any of his non-supernatural titles), but I don't feel that any of those come quite up to this standard. This is a worthy read despite its unworthy author!


Welfy Q. Deederhoth: Meat Purveyor, World Savior by Eric Laster





Title: Welfy Q. Deederhoth: Meat Purveyor, World Savior
Author: Eric Laster
Publisher: Opsimath Press (no website found)
Rating: WORTHY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

Welfy Q is a young guy of otherwise almost indeterminate age - maybe twelve, thirteen? He's homeless having lost both his mom and his dad. Some people might call that irresponsible. I call it unlucky, but therein lies a story! He's been in endless foster homes and none of them have worked, but we're offered no explanation as to why that is. He wangles himself a job in Morton's deli and his whole life turns around, not to say 'spins around'. During a trip to the basement carrying a case of Green Giant® peas, he falls, and instead of ending up with a broken neck, as he expected to, he ends up on a different planet where the Good Brundeedles are being slowly wiped out by the evil Ceparids, an insect-like race who spawn from a queen.

Welfy Q discovers, much to his dismay, that he was predicted in this world - as the savior of the Brundeedles. Also, he can pull all manner of useful items from his deli apron pocket, including weapons (which bizarrely revert to ordinary items, such as a bottle of Windex® when he returns to the deli) as well a a choice salami or a slice of bologna. This is relevant, because it misled me as to how this novel would be resolved, and it may mislead you, too! Working with his good friend, homeless Harlan and Harlan's good friend who is a homeful girl whom Harlan met while free-loading from a Star Trek convention in a hotel, Welfy Q, who initially begins his adventure with grave doubts, eventually mans-up and leads (well, kinda leads!) his adoptive alien people to a great victory

This novel is completely off the wall, with one out-of-left-field event or item jumping-up as soon as another has gone away. The most oddball things persisted in happening, with Welfy Q continually wrong-footed by events and discoveries. This novel seems to be an unholy cross between something out of Frances Hardinge's playbook, and something out of the Men in Black comic books. If you like either of those, you'll probably like this, but keep in mind that it's for the pre-young adult generation, so don't expect miracles from it if you're not in that age-range. I am most certainly not in that age-range, but I still rate this novel to be a worthy read!


Tuesday, January 28, 2014

The Tyrant's Daughter by JC Carleson





Title: The Tyrant's Daughter
Author: JC Carleson
Publisher: Random House Children's
Rating: WORTHY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

This is a first person PoV story of Laila, a 15-year-old girl from what we learn is a Muslim nation. Her father was deposed from his dictatorial rôle and killed, leaving Laila, her mother, and her six-year-old brother to escape, courtesy of the CIA. They are now resident in a nondescript apartment outside of Washington DC in the USA, trying to cope with the massive shift in their circumstances and perspective.

Laila mulls over her feelings daily. Her disturbing discovery of what a brute her father was is one thing which hits her rather quickly. Information is much more freely available in the USA, notwithstanding the ignorant whining of conspiracy theorists. There is a problem here though, and it centers upon the question of whether Laila is ignorant or simply dumb. Yes, she's only fifteen, but for her to have grown up in the palace and not even happened upon so much as a whiff of a rumor about the true nature of her father's regime is simply not credible, especially not given her personality. But then Carleson gave her an inconsistent personality which cannot be explained away solely by her being a fifteen-year-old Muslim girl.

Laila has problems adjusting to life in the west, including getting a good handle on what it's like to live in a society where overkill is the norm (with store shelves flooded with endless variations on a single product, for example), and where women dress like "whores" (so her countrymen would say). Normally I'm not a fan of 1PoV stories, but in this one, it actually works. Laila's narration keeps the story moving and it isn't done in the most fake way possible by pretending it's a diary or letters; it's simply told like she's talking on the phone to a friend, and it's told in short bursts each centered around one theme. It unnerves us as much as she is unnerved because there is always something happening. Reminiscent of her home nation perhaps, Laila does not stand on cement or asphalt here, but upon shifting sand.

Laila is constantly taken by surprise by events: by for example, being unexpectedly introduced to a guy at school who was staring at her. His name, is Ian! Her discomfort with him reminds me of a time I went over to a friend's house and sat on the floor by another girl (since the room was crowded and there was nowhere else to sit). This girl, who was American, got into trouble with her Middle Eastern boyfriend because she remained sitting there, and did not move away from me! Yes, he thought he owned her! I cannot understand why girls tolerate, much less date boys like that. Not all boys and men who behave in so possessive a fashion come from the Middle East of course, and while in that area of the world, the girls may have little recourse against this behavior, in the USA, they do. They have every choice, not least of which is because not everyone who moves here from the Middle East is like that, so there is no reason not to make a wiser choice and still get what you want.

The problem for Laila is that the US government isn't getting what it wants, and an unscrupulous man named Gansler (maybe that's his name, maybe it isn't!) puts pressure on Laila rather than on her willful mother, Yasmin. Her mother is talking with people upon whom she would have spit just a few months before, had she met them in her own country. Perhaps she has a plan, but she hasn’t shared it with Laila. She's also pressuring Laila to make nice with the young boy who visits with these men, because he seems to be trying to derail whatever plans Laila's mother is trying to make, out of purest animosity. The simple solution would be to un-invite him from these meetings, but once again the pressure is on Laila to distract a boy who evidently hates her!

Here's where this novel goes off the rails rather too much for me. This is one of those absurd issues where there is hatred and suddenly there is no hatred in its place with no noticeable transition or rationale for such a transition. I can't believe that a young, headstrong male like Amir, with that much hatred in his eyes, would suddenly start talking to a young female like Laila for no reason whatsoever, and especially not when they're alone and unsupervised.

I started losing faith in the "reality" of this novel when Laila is talked into going to a dance with three girls from her school. Beforehand, they play dress-up with Laila ending-up in somewhat skimpy clothing which was entirely in keeping with fashion for an American teen girl, but entirely inappropriate for her, yet she plays along with this, pretending that she's acting - that she's really someone else in costume, not herself. I can see how a slightly rebellious teen like Laila, especially one who is displaced and is almost mesmerized by what she finds around her, would go for this, but it seemed far too easy. It seemed that she gave in to this far more readily than seemed in character for her, given what we’ve been told about her, and her internal monologue, but that wasn't the worst part. The worst was that Amir was also at the dance. Given what we’ve been shown of his character, I can’t believe that he'd go, especially since he wouldn’t believe that Laila would be there. I can believe he would react as he did, but for him to then inexplicably relinquish his anger seemed highly unlikely to me.

I liked that Laila thought that the girls wore too much make-up (she was probably right!) and I liked that she was unwilling to cede dominance to Amir, but this scene didn’t play well for me. It also betrayed Amir's sensibilities, too. If he feels it’s wrong for Laila to dance so lasciviously and so familiarly with others, then why doesn't he also feel it’s entirely inappropriate for him to be alone in the darkness with Laila, when he drags her outside? This seemed too contradictory and made little sense. It felt like Carleson was forcing her characters into behaviors which they wouldn’t naturally exhibit given what she's shared with us about them. It makes as little sense as it does later when Laila calls Amir to ask for money and he invites her to come over unescorted to his house full of men, not one of which is a relative of Laila's!

Her young brother Bastien is technically the king of his homeland since his father was murdered on orders from his religious zealot uncle, but he's a long way from that rôle now, and he doesn’t seem to care that much. Of the three of them, his mother Yasmin, his sister, and himself, he's the most at ease in his new home, but also the most spoiled. This is the next problem I had with this story. Bastien always seems to have what he wants: toys, comic books, a birthday party, but Laila's mother never has any money. Yet these are people are supposed to be crucial elements in some plan of the US government's, the very nation which spirited them out of their homeland and put them up in the USA. It makes no sense that these refugees, under the CIA's wing, would come home to find a rent overdue notice stuck on their door. It makes no sense that they're always completely penniless yet always seem have sufficient money to the day. It makes no sense that they're housed in some project instead of in some protected government location. It makes no sense that the newspapers would not be hounding them for their story. It makes no sense that they would be wandering around in public unescorted. Bastien could be assassinated, thereby removing any potential threat to the new leadership of his "kingdom". All of this let the novel down.

I found the section where Laila compares and contrasts her country (which goes unnamed) with the USA. This comes right after the section where she talks about meeting boys with two of her new girlfriends, and how segregated men and women are in her country, and then she goes right on to talk about PE being mixed, but the fact is that it’s not mixed in the US: not at her age. It’s highly segregated. The boys have their teams, the girls theirs, and they do not mix nor even play against each other. Sports in the USA is exactly like life in the more restrictive Muslim countries! The segregation of men and women is de rigeur in professional sport, but it begins long before that, in universities and colleges, and before that in high schools. What hypocrites we are! I wrote my novel Seasoning precisely out of disgust with this segregation.

The story is a bit confused and a bit confusing, but it’s worth reading for the PoV and for the twists and turns it takes, with both Laila and her mother vying for who does the best Niccolò Machiavelli impersonation. The ending is upbeat and intriguing, but the biggest prize-winner for me in this novel is Carleson's recognition that the USA isn't the only country in the world, nor is it the most important one for the overwhelming bulk of the world's population. This novel, though set in the USA, isn't at all about the USA. The author's note at the end, and the article about Benazir Bhutto after that, are both well worth reading, too. I rate this a worthy novel.


Sunday, January 26, 2014

Nick the Saint by Anthony Szpak





Title: Nick the Saint
Author: Anthony Szpak (has no website that I could easily find)
Publisher: Vincere Press
Rating: WARTY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

This novel was rather odd to categorize. I started it thinking it was a young adult novel, but it began with a child, who turned into a young teen who ended up in prison and before you know it, ten years have passed and he's an adult. So no, not a YA novel! it purports to tell the true story of Santa Clause, aka Saint Nick, by garbing a New Your prison escapee in a fake white beard, a red, bullet-proof fireman's jacket, and riding on a rocket powered sled. Yeah, like that. I wasn't impressed.

Nick loses his parents to a drowning accident in 1869 New York City, and is "purloined" by a witness to the accident, Fergus, who has decided that child labor is the new black, so he wears them out in his factories and becomes rich. Nick, his supposedly adopted son works as slave labor in his factories. It's rather sad, but Nick's life is unremarkable until it's defined by Molly, a child his own (teen) age, who comes to the factory looking for work. She treats him like dirt, calling him "Rat-Boy" even as they supposedly fall in love and plan upon running away. They fail. Fergus, who was planning on marrying Molly as soon as she turned eighteen (why would a man like Fergus even wait that long?), discovers Molly and Nick in a tryst, and he accuses Nick not only of kidnapping, but also of attempted murder, and since Fergus has the police, the witnesses, the judge, and the jailers in his pocket, Nick is sent down for a life-long stretch on Rikers Island - at a time when the prison was new!

Molly tries to visit him but is told that he doesn't want to see her, and later that he's dead. A decade goes by and Nick manages to escape, conveniently hooking up with a total genius of an inventor, who Nick treats like trash until he realizes what utility he has. Nick is hardly a saint. No one in this novel is. Nick isn't very smart, and his leading impulse is continually towards violence. I don't like him. Neither do I like Molly who, when Nick looks her up after his escape, treats him like trash and rejects him. It's patently apparent that she's doing this because she has a child she fears losing to her husband Fergus if there were any dissent between them, but none of that excuses her appalling treatment of Nick. Having said that, surely this sorry couple definitely deserves one another?

Rather than move on, Nick decides to stick around and eventually, even he gets it into his stupid head that the best way to take down Fergus is to hit him hard in his money bags. Of course, this will hurt Molly, too, who has grown accustomed to living in luxury, but that's the price she will have to pay for not having the guts to run away from Fergus and instead, marry the lousy swine and have a child with him. I'm sorry but she's not heroic either.

Nick's friend Benny can do anything - he's the super hero of inventors, making mechanical walking dolls out of nothing in just a few minutes, making a bullet-proof coat out of a red fireman's jacket, making an airplane years before Gustav Weisskopf, Clément Ader, Karl Jatho, or the Wright brothers ever did. But you know what? Benny makes more sense than does Molly. Nick gets shot and when Molly reads of it, thinking he's dead, she takes to her bed in grief. This is the same Molly who treated him like dirt a few days before! No. I don’t buy it. I don’t buy that the feisty self-possessed Molly of fourteen years of age, who had intelligent plans for her future, who supposedly loved Nick, has turned into the sell-out, loser Molly we meet after Nick gets out of prison, an inverse Molly who is to all intents and purposes happily married to a jerk who treats children like disposable diapers.

When Nick tries to contact Molly again, asking her for money, all she cares about is what happened to the children from the factories, and once she sees that they're being taken care of, her life suddenly turns around and it’s insta-love again? Where was this attitude for the last ten years as she lived with the very guy who was abusing these children en masse? I'm sorry, but suspension of disbelief just got suspended.

When Nick finally gets a real chance to talk to her, her excuse for not pursing finding out about him with more zest than she did, and for not trying to see him or help him is that Fergus threatened her with losing her child! Excuse me, but there was no child when Nick went to prison. There was no marriage. She whines about not being able to run and hide with a child in tow, but she sure as hell could have run and hid before she was married, before she jumped into Fergus's bed, before there was a child, when she was young and feisty and intent upon doing that very thing. Molly chose not to. She chose the easy way out. This girl who was introduced to us as a fierce, determined, and strong young woman simply bows down and knuckles under for no reason whatsoever except that it’s the road most taken. The bare fact is that she betrayed Nick, and everything that both she and they together stood for.

The story reaches absurdist proportions when Molly is summoned from her (and Fergus's) bed at midnight, and is expected to travel the dangerous and dark streets of New York City alone, for no better reason than to see a demo of Benny's latest invention - a rocket powered sled that flies. Yes, flies. Seriously? This was the point at which I called, "Check please, I'm outta here!" I really did not want to read any more of this novel; it's just too stupid for words and the characters are not even remotely endearing, much less believable. This novel is WARTY!


Red 1-2-3 by John Katzenbach





Title: Red 1-2-3
Author: John Katzenbach
Publisher: Mysterious Press
Rating: WARTY!

This is the first Katzenbach that I've ever read, so I have nothing to go on but what's before me; that's the way, uh-huh, uh-huh, I like it! But will it be Katzenbach Falls or The Adventure of the Red Circle Down the Drain?"? Well, I had mixed feelings about this one right up to the end. It wasn't until I started editing the final version of this review that I realized that this novel did not have what it takes to be a worthy read. It wasn't atrocious: parts of it were inventive and well-written, but it wasn't worthy, either. There was just too much wrong with it.

This novel centers around a serial killer (and novelist!) coming out of retirement. How that works exactly, remains unexplained! I can see a novelist doing this, but isn't 'Serial Killer' a lifelong profession? A serial killer may be retired (in an active sense) but not through any action of his own. But this man links his killings to successful novels that he writes based upon those murders, so when he started fading from public acclaim, why did he not pull his Red Riding Hood murders out of his hat then? Why wait until now? We're given no explanation.

This man is also old for a serial killer - in his sixties - and he's married, which is rare for a serial killer. You would think that this addition of a wife would add a real twist to the story, adding complexity and a certain element of randomness, and jacking up the tension, but right when it appears to be tightening tension, it suddenly goes nowhere. The killer feels that he doesn’t have much time left because his parents died in their sixties and he expects the same fate, so he wants to commit one last murder (or rather, series of murders) and write one last novel about it, and make this all worthy of The Guinness Book of World Records.

The three victims he chooses are all redheads (hence the title, Red 1-2-3), but other than that and the fact that they're all female, they seem to have nothing at all in common. At first. Sarah Locksley (Red two) used to be a school teacher until her husband and three-year-old daughter died in a car accident. From that point on, she gave up on life. Jordan Ellis (Red three) is a 4th year college prep school student who plays basketball with a vengeance. Her parents are having a contentious divorce, leaving her in the middle, and paradoxically feeling very much alone and doing poorly in school. Karen Jayson (Red one) is a doctor of geriatrics, and an amateur comedian. It turns out that the killer's wife is a patient of hers, and she's also the principle's secretary at Jordan's school. Other than those two facts, we're given nothing to link them together. It's never revealed how the killer chose his victims or what links they had (in his mind), and since no detective is ever on this case I guess it doesn't matter, but it felt really odd.

The killer-to-be has been stalking these three women for many months and continues to stalk them. He sends "introductory" letters signed "Big Bad Wolf" to each of them. We never learn the killer's name. He's always the wolf. His wife is referred to as Mrs Big Bad Wolf throughout. We're not even allowed to read those letters, so this is yet another in a list of things I simply didn't get about this novel. Each woman gets her letter on the same day, but only one of them calls police. The detective is a complete jerk and offers no help. He doesn’t even want to see the letter. This initial lack of interest is used as a really poor excuse for the women never to go to the police again, even when they have some good solid evidence that their plight is real. I found this approach to be completely unrealistic. More on this anon.

I almost gave up on this novel in the first couple of pages because Katzenbach writes like Stephen King, and trust me, that's not a compliment when it comes from my keyboard. Katzenbach's philosophy quite evidently, is "Why write a word when you can make it into a sentence? Why write a paragraph when a page would be far better, and why write a description of anything at all unless you’re fully prepared to occupy several pages with it?" Seriously, it’s tedious to read this prose. For example, he has one recipient of the letter determined to arm herself. So far, so good. There is a gun in the house in a locked box, and Katzenbach has her go get it, but he manages to fill four whole pages with this action alone! It’s t-e-d-i-o-u-s. Naturally I've started skipping page after page of his text in search of interesting bits - of which there are, to be fair, quite a few, but curiously, very few of these involve the killer himself. I tended to skip most of the parts which were written from his perspective. It was boring. After the opening few chapters his writing seemed to improve somewhat (or maybe I grew more immune to it). The parts about the women, including the killer's wife, were much more readable than any other parts.

Note to authors: I don’t care if you've compiled an extensive biography for every last, even remotely tangential character in your entire novel. I certainly don’t want to read it. I came for the story, not for a life history of the world's population! If it doesn’t move the story forward, if it doesn't tell me something interesting, useful, or important about your character, or clue me in about events, then who cares? Really? Who cares? I don’t mind a stray snippet here and there drifting into the story even if it isn't relevant. I don’t mind that at all, but when the action is routinely hijacked by authorial pontificating or verbosity, I'm taking a cab to the next good bit, and if you keep hitting on me inappropriately like that, I'm outta there.

The first time I felt completely comfortable with this novel and actually really enjoyed the reading was when we got to experience a basketball game in which Jordan is playing. Now this was prose. It was wonderful. But this was not until chapter five, after more than forty pages had gone by! This novel should have started right there and then! It should have been told from one person's, perhaps Jordan's, perspective to begin with, allowing her to find out that she was not alone after a few more chapters had gone by. That would have been a better novel. I found myself hop-scotching over the fat of verbosity to get to the lean meat. Any way, the killer sends another letter to each girl, directing them to a You Tube video (none of which actually exist on You Tube - a mistake IMO) which shows a bit of forest (playing on the Little Red Riding Hood theme), then a long-distance shot of the intended victim. Sarah's video cruelly shows a brief shot of the graves of her husband and daughter before it abruptly ends.

Is this a mistake by the BBW? The killer listed the videos for all three women in each letter, so that they now have the knowledge that they're not alone. Perhaps he fully intended them to meet up, so he can herd them together and kill them all at the same time, flushing them like fish into a barrel before taking them out, so to speak? Jordan takes the bull shark by the horns here, and quickly comes up with a system by which they can contact each other without giving away too much about themselves. The problem with this linking of the victims is that it makes no sense from the killer's PoV, nor does it really go anywhere. For the longest time, even after they get in touch, the three women all act independently. Their introduction doesn't seem to benefit them, and it doesn't seem to make much difference to the novel! It's only towards the end that they act in concert and then Katzenbach pretty much blows that, too.

Even when they have this 'support group', the BBW still dominates their every thought and even their behavior. Jordan, the aggressive basketball player and the most belligerent of the three when they're discussing action, is the first to encounter him in person and know it, yet instead of confronting him she shrivels to jelly and runs! Maybe that was smart, maybe it wasn't. Some serial killers would react aggressively, others would run themselves if confronted. Some might use charm to try and mislead a person into thinking their apparent stalking or threatening behavior was perfectly innocent. But Jordan gives the killer exactly the thrill he seeks, and worse, she fails to use this opportunity to tail him to his car, for example, and get a license plate number, yet she's the very one who is most vociferous in advocating that they should be pro-active in dealing with this! I really didn't appreciate this scene because it isn't like Jordan had not been expecting something like this for some time. For her to go to pieces like that was a bit of a let-down! Yes, perhaps it is what we all would have done, but this is fiction, and I expected more, given what we've been led to believe about Jordan's personality.

What continued to bother me throughout this novel was that these women consistently fail to involve the police. After Karen's initial call, it's never brought up again, like it's still a pointless option, but the fact is there is now three of them, not just one who has had a concrete threat. They have two letters each, and the three videos. This has gone well beyond a prank, or a mistake, or a misunderstanding: they have real cause for concern. They just don't have a suspect, but that's the very job of the detectives, and the inaction of these three women is inexcusable and downright stupid. In addition to that, I find it really hard to believe that not a one of them would advocate or seek police involvement. It's really an insult to women and threatens suspension of disbelief. Yes, one of these three is so cowed by life that she probably would not call a cop, but the other two have been presented to us as quite the opposite of that type of person. Katzenbach has failed to honor the very parameters of the novel he wants us to buy into here.

In the end, the women do act, and in concert, but their action isn't realistic or satisfactory to me. In some ways the ending worked, but I was expecting much more than this, and I felt robbed that justice wasn't served more neatly than what we got.


Saturday, January 25, 2014

Ragnarok and Roll by Keith R A DeCandido





Title: Ragnarok and Roll
Author: Keith R A DeCandido
Publisher: Plus One Press
Rating: WARTY!

I both started and finished this one today, and when I say I finished it, I didn't finish it. I read the very first chapter and decided that this was so uninventive and pedestrian that I had zero interest in reading any more (on the principle that life's way-the-hell too short).

The novel is about Cassie Zukav, a resident of Florida, who battles mythological creatures from Norse legend. It's first person PoV which I detest, so my feeling on starting it was that I wouldn't like it, and I'm sure that this contributed to my negative take on it. The first person is in the past tense, which ameliorates the style somewhat, but it's still 1PoV and it's all me, me, me, I, I , I, and that kind of self-aggrandizement sucks big ones on a cold day. It really does. Who cares how self-important Castor Zukav is?

Why did I even pick this up, knowing it was 1PoV? Well, I initially asked myself "How can I not like a novel with that title?!" and I found out pretty quickly the answer to that when I read that Cassie is a boring dive-tour guide in Florida who spends the majority of her nights drinking and listening to the same band at the same dive bar in the Keys. Why would I be even remotely interested in a completely one-dimensional character who was completely boring in three dimensions? As if that wasn't bad enough, the way Loki decides he's going to take over the world and bring on the new ice age is to form a band and play in a dinky little nowhere town in the Keys. Seriously?

The fact that, after learning all this, I still finished that one chapter is a compliment, believe me, but there was no way I was about to voluntarily read any more of this uninspiring and insipid drivel.


Friday, January 24, 2014

Season of the Witch by Natasha Mostert





Title: Season of the Witch
Author: Natasha Mostert
Publisher: Portable Magic
Rating: warty!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

This was a somewhat painful review to write because I've now read three novels by this author and I liked the other two, but I guess that's no guarantee you'll like them all, huh? I was finally done reviewing the three children's novels I side-tracked into, and I was really looking forward to returning to the grown-up world of Natasha Mostert. The thing is that this volume is the one I'd really wanted to read; in fact, I almost read it first, but if I'd done that, then I would probably never have wanted to read either of the other two, and I would have missed the joy which those provided.

The first of the issues I had with this was with the choice of title. It's a cliché, and as such is simply swamped by all the other titles which sport the same (or some variation of the same) title. It's not a good way to make your novel stand out, but believe it or not, that wasn't my problem with this volume! My complaint is that the choice of title did not represent the content of this novel at all accurately. Yes, there was a hint of witchery and magic here and there (and let me note in passing that a male witch is a witch, not a magician! The words are neither interchangeable nor gender specific!), but this novel really isn't a witchcraft novel, not in my opinion. This novel is much more like a murder mystery with supernatural aspects sprinkled on top, like powdered sugar on a sponge-cake.

It was a relief to discover that this novel ran along a very different vein from Mostert's previous two outings. Here, the main character is a guy instead of a woman, and he's leading a rather dishonest life. He's a corporate data miner, and is none too honest about how he does it. He's just congratulating himself on having it made, and luxuriating in his success when an old girlfriend (Frankie, now married to a wealthy businessman) comes back into his life asking him (as a favor for old time's sake), to please try and discover what happened to the businessman's son, Robert Whittington, missing, presumed dead.

Why is Frankie asking Gabriel to be a detective? Well, he has a power called 'remote viewing' where he can see things happening in places far removed from his person through the eyes of others who are (or were) there. Mostert gives us a bunch of mumbo jumbo about how this supposedly works, mentioning two investigators: Hal Puthoff, and Russell Targ, who were real scientists who investigated this purported phenomenon for 25 years - and yet never were able to establish it beyond a reasonable doubt. Hal Puthoff actually lives here in Austin, Texas, and I'm familiar with his and his partner's work. They were reputable scientists, but they were not magicians, and as I've said before, it's magicians you need on board to catch out these shysters! But this is fiction, so let's put that aside.

So Gabriel can do this remote viewing, and after having a spat with Frankie over her request, he (almost accidentally) puts himself into Robert's shoes and discovers that the latter went exploring a really weird house. It's so weird that Gabriel is ready to dismiss this as a nonsensical dream when Frankie recognizes a vital piece of evidence that enables them to nail down exactly which house Robert was in. It's owned by two sisters whom Frankie knows, and she eventually agrees to lure them out to dinner so that Gabriel can sneak into their home and check it out while they're out of the way. Before this even happens, the creepiness factor has already been put into play by Mostert and this time, that's all I'm going to give you for spoilers! What follows is nothing but speculation and teasing - and some gripes.

In general, and as I've come to expect from Mostert, the writing and plotting are good. She even beat me on a grammatical issue where I at first had read something and thought, "That's not right!", but upon re-reading I realized she was right. She makes me proud! Now I have a different, horrible creeping feeling that I need to re-read all my own writing scouring it for such errors. I'm sure all writers get that. No? It's only me? Ulp!

Given that I'm not a believer in the supernatural, I was quite warmed to read Mostert describing the the bookshelves in a home as having volumes by authors of the caliber of Stephen Jay Gould and Daniel Dennet. She could almost have been describing my own shelves. It was tempting to think that she wrote that section just for me. She didn't, of course; if she had, it would have included the other three horsemen of the Apocalypse along with Dennet: Richard Dawkins, Sam Harris, and Christopher Hitchens! But it did warm the cockles of my heart to read those names in a book about supernatural occurrences. Yes, I have cockles. Who doesn't these days?!

So while the novel started out in great form, it became problematical rather quickly, and there were issues. There always are with any writer; it's really the kind of issue and how it's handled which condemns or exalts a novel. There was one instance where two framed posters were described which made me think, at first blush, that an X files poster contained an image of Che Guevara, but I survived that confusion. Mostert sometimes belabors a point, as in reusing a phrase like "one of them" three times in two sentences, and in spelling out the full title of Tchaikovsky's Andante Cantabile more than once when it's really not necessary and is actually annoying. But those are minor infractions, hardly worth the telling, and if that's all it amounted to, I would have had no problem with it.

Since I'm reading Dracula right now (actually listening to it on CD as I drive to and from work) it was an amusing coincidence that there was a mention of that during a picnic in Highgate cemetery in London, but I also read this with mixed feelings because it was emphatic of a bigger issue which I had with this novel: the abrupt change in tempo. The down-shift in the story right after the Monk sisters (I'm tempted to label them twins but they're not) came onto the stage was quite startling and really impacted the story for me; from that point onwards, the pacing slowed dramatically until it really began to drag. Other readers may have no problem with this, but it really made the story sluggish and unattractive to me. From that point onwards, I found myself skipping more and more pages as the novel did not seem intent upon moving anywhere or revealing anything new. We had events and descriptions, and meetings and journeys, but none of this really moved the story significantly forward for me, and this stagnation began to bore me.

It's odd that this mire coincided with the arrival of the Monk sisters, because they were actually two bright spots in the novel. Initially I found them to be charming, fun, sexy, interesting and intriguing - as well as scary, which I am sure is exactly what the author wished. The problem was not the sisters per se, but that nothing changed as page after page after page went by. Gabriel hangs out with them, and hacks into the sister's computer and starts reading the diary one of them keeps, but we do not learn which one this was for the longest time. It harks back to the "Watcher" character in Mostert's two previous novels, and it smacks uncomfortably of stalking. Having to endure excerpt after excerpt from this nondescript, vague to the point of complete obscurity, and thoroughly uninteresting diary became tedious. It didn't add anything material to my enjoyment of the story. It didn't increase expectation or answer questions. All it made me do is wonder why there was so much of it, and would it ever end!

Also, what's a "gypsy smile"?! Ignoring the issue of whether 'gypsy' is appropriate (I thought the pc term was 'Romany' or 'Traveler'), I had no idea what this was supposed to mean. It seemed at best condescending and at worst racist. I Googled this and discovered that it's not an uncommon term, so I guess it's just me. I've never heard it before! Perhaps it hit me as being more strange than it would others because of my unfamiliarity with it.

At one point, just before the half-way point in this novel, the observation is made that there's actually a fourth member of the existing trio (consisting of the two Monk sisters and Gabriel). We're meant to understand that this is Robert Whittington, the young man whom one of these sisters purportedly murdered, but it didn't strike me that way. Robert has been all-but-forgotten in the murky depths of Gabriel's infatuation with the sisters at this point, even as Gabriel knows perfectly well that they're purposefully seducing him, just as they seduced Robert. This made me lose all faith and interest in Gabriel. I really stopped caring about him at that point and honestly felt that he deserved whatever came his way. His lethargy was a real personification of the lethargy inherent in the entire story by then, and it contributed heavily to the feeling that this was dragging on for no good purpose.

To me, the fourth member of this group, the one who turns the trio into a quartet, was the cat which the sisters kept as a pet. I had honestly felt that Mostert was going somewhere with that since she made such an issue of its relationship with Gabriel, but in the end it went nowhere at all, which caused me to wonder why all the fuss about the cat in the first place? You know, black cat, story about witches? Shouldn't something happen?! What did happen was that this non-event contributed yet again to my feeling of being cheated out of a good witch story!

So in the end I cannot rate this a worthy read, because I was so disappointed in it. It rested on a great idea and started out well, but it simply seeped away into nothing, leaving me feeling drained in the end! I'm sorry but that's the best I can do with this one! I can recommend reading other titles by Natasha Mostert, because she can tell a good story. Just not this time. Not for me.


Thursday, January 23, 2014

Dracula by Bram Stoker



Title: Dracula
Author: Bram Stoker
Publisher: Recorded Books
Rating: TBD

This is a movie/novel tie-in. The Francis Ford Coppola movie based on this novel is reviewed here. Also for those interested, the Movie: Mary Shelley's Frankenstein is reviewed here. The Frankenstein novel is reviewed here.

Narrated by Susan Adams and Alexander Spencer. These two do a lot better job than that abomination perpetrated by Ralph Cosham on Mary Shelley's novel, but their narration still leaves a heck of a lot to be desired. Adams's voice is far too breathy and "projected". That might work well on stage, but that's precisely why I don't like theater because it is all theater and no reality. Spencer's voice has too much treble to the point where it's harsh, sharp, tinny, and grating on the nerves, and whereas Cosham in Frankenstein was tedious to the point of somnabulance, Spencer is the diametric opposite. He injects way-the-HELL too much melodrama into his "performance" turning it into a joke. Its sad, because this novel is, for the most part, well written and enjoyable, but Spencer all-but ruins it with his insane theatrics.

This one begins in a similar fashion to Shelley's Frankenstein, but instead of letters, we have diary entries, which renders the story a bit unrealistic, but it's passable. Jonathan Harker, a junior "solicitor" travels to Transylvania to the Castle Dracula, where Count Dracula seeks to have someone take care of what business he has tied up with his planned move to London. Note that a solicitor in Britain is a lawyer who handles legal affairs which don't need to be aired in court. A lawyer who does practice in the courtroom is called a barrister. It's possible for a lawyer to be both.

Harker is at first excited to travel, and fills his diary with all sorts of warm observations about the people, the countryside, and the food, but after he settles in at Castle Dracula, he slowly discovers that he's a prisoner there, and Dracula has no intention of letting him leave. He discovers to his increasing dismay that Dracula is controlling the letters he can send, and eventually, Harker discovers that Dracula has impounded his outdoor clothing so Harker cannot leave.

Dracula warns Harker about exploring the castle: he must never fall asleep outside of his own rooms, but of course he rebels against this and discovers that Dracula has three female familiars to whom he feeds a baby one night. Harker is horrified and starts plotting an escape, realizing that if he does not flee he will die at the teeth of Dracula and his blood-sucking frenzied fiendish female familiars.

Once Harker escapes the castle, we move quickly to England where Dracula arrives in dramatic fashion (and in disguise) in Whitby (I've been there done that, but go no T-shirt!). It's at this point that the narrative transfers heavily to the diaries of Lucy Westenra and Mina Murray as they ramble on, mostly about men and gossip. This part (disk 4) becomes quite boring, but having said that, there are several unintentionally funny parts in this novel. One is when the 'creatures of the night' (mostly wolves) are 'singing' and Dracula pauses to listen. He asks a man name Harker to "Hark" (p76)! I thought that was priceless. Later, Mina describes the funeral of the captain of the Demeter and writes of the huge number of sea-faring folk who wanted to take part in the funeral - but that's not quite how Stoker phrases it: "...the owners of more than a hundred boats have already given in their names as wishing to follow him to the grave."! To his credit, though, Stoker does have some interesting and forward-thinking things to say about the "New Women" on page 142.

Lucy Westenra's mother doesn't feature in the movie, but she features strongly in the novel as the architect of her daughter's death though her habit of constantly removing or accidentally destroying the garlic wreaths supplied for her daughter's protection; however, the real architect of her death is van Helsing himself through sheer incompetence. he knows perfectly well what is going on yet he fails consistently to prepare her or her loved ones for her welfare, to warn everyone adequately about what must be done, or to safeguard her from vampire attacks. The single best maneuver which would have secured her health would have been to board up the external door to her bedroom, but no one even considers this! She has no one sitting with her on a regular basis and those who do are not augmented by support from others so that they do not risk falling asleep on her. Sad!

This novel is, like Frankenstein, quite boring in many places, a fact which is in no way ameliorated by the sad narration from either Adams or Spencer. One really big advantage of listening on CD is that it is really very easy to skip to the next track without even having to turn a page!

In the final analysis, I have to rate this warty!


Wednesday, January 22, 2014

Legend by Marie Lu





Title: Legend
Author: Marie Lu
Publisher: GP Putnam's Sons
Rating: WARTY

Yes, this is another nightmare. I haven't read a novel this bad since Divergent/Insurgent, and it's not just because it’s a dystopian novel set (where else? There is nowhere else, is there?) in the USA, but because it’s a young-adult first person PoV novel. Honestly? Why me? Why me - well, I've picked up this novel and put it back on the library shelf several times, put off by the 1PoV perspective and my dyspepsia with dystopia, especially of the YA strain, and actually this is worse than 1PoV: it’s 1PoV². The story begins in gold-colored type and alternates with black, each color representing one of two voices. They have to use the colored typeface because there really isn't any other difference between the two main protagonists: they're both supposed to be geniuses and they're both dumb as dirt.

Here's a funny aside: I went to an online thesaurus to look up 'dystopian' (I don't like that word and I was curious to discover if there were interesting or amusing alternatives - there aren't!). It found no matches for 'dystopian'! The thesaurus wrecks! Even the dictionary at that site (which is usually good) doesn't have it unless you remove the 'n' at the end. But that wasn't what was funny. The funny thing is the alternatives it offered to 'dystopian', one of which was 'most piano'. The page giving me the 'didn't find' notice asked me if I meant 'dustbin' (which is the British name for a trash or garbage can). I kind of like the idea that Day and June live in a dustbin world, but what I really want to do now is to write a novel set in a most piano world....

Sp what's with the gold typeface? That particular typeface would actually be nice if it were black. It sure beats the black typeface we are given, which is tired and boring. I thought that maybe Lu chose these for a real purpose, but no. The cover is grey but the fly leaves are gold. Gold leaf?! Golf lead? Geld Loaf? Glad Felo? A God Fell? I just wish we could 'defog all'.... The insignia on the cover is painfully obviously designed to emulate the burning circle on the cover of The Hunger Games, as was the design on the cover of Divergent. Seriously, is there not an original thought in the minds of any of the YA dystopia authors or publishers? Not one? Anybody?

I have to interject with an observation of the irony here of "Marie" Lu, who disguised her beautiful Chinese name - Xiwei (the name to which this novel is copyrighted) for no other reason than to conform to western standards, writing a novel about a girl who rebels! Does no one else see the hilarious hypocrisy in that? But it’s coupled with sadness, too, that we now have a veritable tsunami of tales like this: The Hunger Games, Divergent and so on, which the movie companies cannot wait to lay their green thumbs on (yeah I know I keep mentioning that one, but there are many others, too stupid to remember, much less list). You can’t really blame Lu for piling on, although she claims she got the idea for this story from reading Les Miserables, another story which I'm probably going to have to add to my reading list now! I did find it interesting that this novel came out in 2011, right along with Divergent, just three years after The Hunger Games made YA novel headlines. I'm surprised it took them that long to write drivel like this. Indeed, 'The Miserables' would be a better name for Lu's novel given how sorry her two-dimensional characters are.

Lu has alternating sections which are labeled 'Day' (in huge lettering so we don't miss it!), which is the name, supposedly, of a nightmare: he's the most wanted rebel in the country, his story told in gold. No explanation is offered for his nickname. Why this joker is so wanted by the Republic is almost as big of a mystery as why the local military has consistently failed to catch a fifteen-year-old hooligan, but neither of those is as big of a mystery as the explanation for Day's vandalism, which is never given. We're expected to believe that his sole motivation is getting supplies for his family: clothes and food. How, exactly does that translate into setting fire to a bunch of military aircraft? All this tells me is that Day is a selfish moron. Instead of keeping a low profile and helping his family, he pulls ridiculous and fruitless stunts which raise his profile, run the risk of him being caught, and do nothing at all for his family. In the other alternating sections June Iparis is the new black. This regular typeface (how clichéd! - regular v. rebel!) is standard Times New Roman or some such. Whatever happened to the old Roman? No one knows!

The supposed 'bad boy' character, Daniel Altan Wing, aka "Day" (why not Daw?) boasts at one point: "When I was seven years old, I dipped a ball of crushed ice into a can of gasoline, let the oil coat the ice in a thick layer…" So was this gasoline or oil? Neither oil nor gasoline would coat a melting ball of ice that thickly (and would probably have doused the flames upon impact! LoL!). Given that we’re preached the temperature periodically on this novel (why?! Again, no explanation!), it’s way too hot for ice. Where did an impoverished seven-year-old even get the gasoline (or oil) and the ice in the first place, and how did he fire this into a police station by means of a slingshot without being seen and caught, and more importantly, without burning his juvenile hands off? Again, no explanation is ever offered.

Once I’d decided (which didn’t take long, rest assured!) that this novel was barely a pimple on the sorry ass of Divergent, which itself is a boil on the otherwise pristine and finely sculpted ass of The Hunger Games, I looked at some other reviews, and I have to wonder if the reviewers at the New York Times and at USA Today (and on some well-followed blogs) even read the same novel that I did (or read it at all). This was a "walloping good ride" and a "fantastic read"? The description: "brilliant protagonists" quite obviously came right out of someone's constipated ass. Praises like "Lu's genius" issued forth, causing me to ask: "What were these people smoking? Burning ice balls?"

There is a war going on, of course, but this time it's not north v. south. Instead, it's east v. west, just for the hell of it (although how any war can be termed 'civil' is probably the only mystery in this entire novel). How the war began goes conveniently unexplained as does pretty much everything in this story. The nation is split by a somewhat arbitrary line from "Dakota" to "West Texas" and Day is seen as fighting for the rebel "colonies" which occupy the east, although he's really only in it for himself and his family (or vandalism). Beyond that he doesn't care. That's the kind of vacuous "hero" he is. His brother is more heroic. Some think Day is fighting for the "patriots". Who knows? This novel is so confused that we have no idea what the difference is between those two factions, or even if they are two separate factions! The truth is that Day is fighting for nothing save his own agenda.

June is a soldier in training for the Republic (of course!). Both kids are fifteen. June is a genius, which begs the question as to why she's undergoing grunt training in college. She's the only one ever to be given a maximum score of 1500 on her SATs (Sub-Adult Triteness series), but of course, she's a rebel. We meet her as she's called to the principle's office to be picked up by her older brother (YA cliché alert: her parents are dead! Secondary YA cliché alert: their deaths are not what they seem) for climbing one of the city's tall buildings in emulation, of course, of the rebel Day who supposedly climbed one in record time. Worse than that, she was off campus! Yes, she's truly a rebel - going off campus. I mean good gods how could the authorities even countenance a rebellion like that?

Day is an outcast, of course; he has no Day job.... His mom thinks he's dead, and only his older bother knows the truth, but does Day care? Day stalks his own family, apparently on a Day pass, living Day to Day. We meet him hanging-out (almost literally) in a deserted building watching the soldiers down in the street below go door-to-door, marking those doors where "plague" is found with a large red 'X' (cliché much, Lu?). I suspect the plague is something fomented by one or other of the military powers because this is YA dystopia, so why wouldn't it be? When they reach his own family's house, they spend an inordinate amount of time in it before marking it with the 'X', and then drawing another line through the X vertically. Day has no idea what that means. Day is in the dark?!

Given what we learn later, this 'X'-ing makes no sense at all. The authorities know perfectly well where the plague is, and given that the house is marked fro quarantine, how in hell is Day's brother John still allowed to keep leaving the house to go to work? Again no explanation, no sense! It's so boringly obvious what's going to happen here that there's really no mystery to this novel at all except as to how something which was written this badly ever got published in the first place. Clearly the opposing youngsters will end up allied because they find something so astounding that it can unite even bitter enemies, and then it’s them against the world, a crisis which can only be resolved by two more volumes. No doubt the astounding revelation will be that the enemy are…Americans!

The only reason I finally jumped into this comedy of eras was that I heard that it was optioned for a movie by CBS Films before it was even published. IMDB lists it as "in development" which means no one is saying nuthin', y' hear? N u t h i n'! Clearly something is going on here, but the fact that the producer was tied in with Twilight abortion ought to tell you all you need to know about what a waste of electrons this movie will be. Anyway, this was why I decided I should probably read this and find out what underlies it all. The short answer is nothing, but nothing ventured, nothing gained, so here I am, stuck in the middle with Lu….

So Day's next plan is to go steal the plague cure from the local hospital for his family, even though this genius has neither a plan nor any idea whatsoever what the triple-line symbol on his family's door actually means. He covers himself in pig's blood (no word on where he actually found that in Los Angeles) as though he's been injured in a fight, and he heads into the waiting room where he sneaks through the abominably clichéd vent system to a stairwell (shades of Die Hard anyone?); then he runs (on a bad leg) up to the labs on the third floor. He discovers that they're fresh out of plague cure, so he escapes by dramatically diving through a solid plate-glass window and plummeting to the ground below, sustaining relatively minor injuries after a three-storey fall. But of course. Day is a super hero which is obviously how he survived. This boy glows Let's call him Day-Glo.

Lu needs to get real. Seriously. She's been watching way too much bad TV. While I will grant the very faint chance that Day could walk away (okay, limp away) from a three-storey plummet, bullets do not ricochet from fridge doors! Nope, they go right through the fridge door and kill you. But hey, bullets bounce off of Day-Glo. Did you know that he once scaled a four-storey building in less than five seconds? If you don't, Lu will tell you. Repeatedly. Yep. He's a super hero.

Metias is June's older brother. He's hit by a knife thrown by Day-Glo as the latter escapes from the hospital into the amazingly complex sewers. We're clearly told that the knife hits Metias in his shoulder. The next thing we know is that the military has - in just an hour or so - graduated Genius June (let's call her Junius) from college early, and assigned this untrained, inexperienced, and undisciplined (unless you count the fact that she's been disciplined eight times this semester and is currently under a school suspension) to track down her brother's killer! Commander Jameson, her brother's commanding officer, first shows Junius her brother's dead body - but miracle of miracles: the knife that Day-Glo threw which hit him in squarely in the shoulder has now transferred itself to his chest where it pierced his heart and killed him!

I guess the military no longer wears body armor? But screw that: there are magical self-motivated knives in Lu-world? Hey, she stole that idea from the movie The Shadow! No, actually there's something else going on here. Someone removed the knife from his shoulder and deliberately plunged it into his chest to insure that he died. My suspects were Thomas, Metias's second-in-command, or Commander Jameson herself, but now, genius Junius is Day-Glo's sworn enemy, so I'm even more sure that they will sack-up together. And she's placed into her brother's unit, under the command of Thomas. I was even more sure that there would be a triangle until Thomas began doing stuff that made even Junius notice, so I changed my mind on that one! More on this anon. After three days, Junius Christ resurrects herself and heads on in to work, determined to kill Day-Glo.

Lu's world makes no sense. When June needs to dig up information on Day-Glo, instead of perusing the military's intelligence files, she surfs the Internet! In a dystopian, dysfunctional, impoverished, warring USA, where even the military is short of money, where earthquakes, flooding, and war have ravaged the country, where the western USA's population has plummeted to a miserable 20 million from maybe 150 million, there's an Internet? I wonder if it has a good thesaurus? In a flashback, Lu has Day-Glo meeting Tess, and he's stealing food from a restaurant. This is in a dystopian society (ravaged by war, etc., etc.) where the poor are of Dickensian proportions, yet there's a restaurant?! Who in that neighborhood - or any neighborhood near it - can afford to go to a restaurant? I don't think Lu really grasps what 'dystopian' means, which is hardly surprising since it's not listed in the online dictionary, but couldn't she extrapolate from 'dystopia' which is listed?

Tess and Day-Glo between them have a fortune in "Republic Notes" (is that like Republican credits?! Just remember that Watto: will not accept these.) and there's never any explanation offered for how they came by this money, especially given the 'going out of style' rate at which they spend it, and their lack of success with gambling (more anon)! Day-Glo always works alone - apparently he's the only person in the entire city who cares about his family. He has neither friends nor casual acquaintances he's met in the course of his criminal dealings. Oh, and people still own cars in the poorest section of town - or at least drive through it - through a part of town with nothing to offer, and riddled with thievery and people on the make. Maybe they're going to a restaurant?

Captain Thomas kisses one of his own soldiers (who happens to be Junius, of course) on the cheek? Seriously? Can Lu say, "conduct unbecoming"?! Thomas is inappropriate all around; even though June is now under his command (ooh baby!), he still addresses her as "Ms. Iparis"! Later on he kisses her again, but this soldier's aim is so bad that he misses her lips. I definitely made a mistake in considering him for the third leg in a triangle - unless it’s a triangle of villains. Even a dunce like Junius isn't quite stupid enough to get involved with this psycho.

The problem is that Lu's writing is so flaky that it's hard to tell if she simply has no idea what she's doing (which is the direction in which all evidence seems to point), or if she's actually conforming to some sort of bizarre plot. "How smart is Junius?" is a really good question at this point, and it has nothing to do with her putting up with Thomas's inappropriate behavior, (although it should!). When she came up with her 'brilliant' plan (which took her three days) to lure Day-Glo into a trap - which was never actually organized and never sprung! - Day-Glo recognized her as a government agent from the official way she fastened her coat! Yet she's championed as a genius who is the only one in the entire Republican military who can go undercover and find him?

The ham-fisted (I use that term advisedly!) way Lu chooses to introduce Day-Glo and Junius is to have them meet at a Skiz - a street fight (not that Lu ever defines it or explains - given that it's just a street fight - why it has to have that name) - where Day-Glo sends Tess to bet pretty much their entire wad on the outcome. This is interesting, because at the start of the novel, he's told us that he has 2,500 notes - enough to feed them "for months", yet now he's betting the bulk of what’s left of that (1,000 notes - they blew off almost 50% of their stash in a handful of days!) on a Skiz fight. It makes no sense whatsoever. Why would he risk losing enough money to feed them for (50% of) "months"?!

He wins the bet on the first fight, but when Junius steps in to fight, he bets against her and loses it all. My question here is not, "How stupid is Day-Glo" (that's already been answered satisfactorily), but how all this money comes to be floating around if people are so impoverished that half of them are scouring the garbage outside all those flourishing restaurants in the impoverished neighborhoods? It makes ZERO sense. Junius didn’t even plan on getting into the fight! She steps in to help out Tess - another serious mistake on her part. How many mistakes has the brilliant, genius, military wizard made now? I've lost count.

Lu can't even remember what she wrote from one chapter to the next. In one chapter she has Day-Glo ready to go break up the fight so Tess won’t get her ass kicked, and in his next chapter he's saying that he would have let Tess fight and get beaten just so he could win his bet. Actually Lu can't even remember what she wrote at the start of a sentence by the time she finishes it (see example later, when Day-Glo is captured and chained, King Kong like, to a roof!). Oh, YA trope alert: Junius has gold flecks in her eyes! How original! I'm sure Day-Glo does too. His are probably blue, because god forbid we should have a male trope whose eyes are brown - the most common eye color on the planet. Lu has Day-Glo lusting after Junius from the off. He imagines kissing her and running his fingers through her hair. Ri-ight - because that’s what all fifteen-year-old slum-boys think about when they see a hot girl.

So inevitably, the inevitable kiss comes inevitably between the inevitable two of them, and we discover that Junius has the amazing power to determine from his lips how many other girls Day-Glo has kissed! Wow! So they have the requisite day and night (with the requisite gentle Day-Glo gently tending her requisite wounds) so we can be sure there's been more than enough time for them to inevitably fall in requisite love. Day-Glo is supposed to be not only a genius, but also to be street smart, and yet he instantly trusts Junius - the suspicious girl he's just picked up on the street, who has suspiciously shown up out of the blue right after he was suspiciously invited to get suspiciously free plague drugs that could cure his brother? Some genius. Then Junius calls in the army to pick up Day-Glo's family, and she lures Day-Glo to the scene so they can pick him up, too. What a pity they don’t just shoot him on sight on site. Instead, they shoot his mother. Now the two are matched again, both of them being fifteen-year-old, rebellious, athletic geniuses who have lost a loved one.

But that's where Lu falls on her face again. Day-Glo is sentenced to death without a trial, in front of a mass of public onlookers, but they don't shoot him then and there. Instead, the sentence is to be carried out in four days time. Why? Explanation for this is neither given nor would make any sense whatsoever, so we know that the only possible reason for the four-day stay of execution is for Junius to rescue him, or for him to escape. Instead of returning him to his cell, though, they chain Day-Glo to the roof of the building - again with no explanation except that it would be far easier for him to escape from there: recall that we've been told several times that, like Superman, he can leap tall buildings in a single bound, yet inexplicably, Junius is the one wearing the cape! But then she is Supergirl.... And despite knowing all this about her beloved Republic, genius Junius still hasn't seen the light!

I know it's hard to conceive, but if there's one thing worse than Lu's plotting, it's her writing. She actually writes this on page 190: "A bright streak of blood stains one thick strand of my hair, painting a dark red streak into it." I am not kidding you. So is this blood bright or is it dark? It can't be both. Where the hell was the editor when that asinine line was written?

So Day-Glo is up there on the roof, and he's pretty much dying after being beaten and tortured because we have to make the guy suffer so his mortal enemy can pity him, ergo instadore. You know how that goes. So he's been dehydrated and starved into delirium, but as soon as Junius appears, he magically snaps back to rationality and cold hard logic and he starts telling her of his suspicion that the government is poisoning the poor. The fact of the evil government testing strains of plague on the poor is something we average intelligence readers knew pages and pages ago, but it's just now occurring to genius Day-Glo. It hasn't even remotely crossed Junius's transom yet, but she warns Day-Glo that he's on dangerous ground speaking such treason! SERIOUSLY? He's been sentenced to death, for gawd's sake! He's actually on the verge of dying through ill-treatment, and this genius warns him that he's making treasonous statements? Excuse me whilst I go retrieve my ass. I just laughed it off. Again.

This novel is utter trash and warty and that's all there is to it.