Lost Face Review

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Lost Face ReviewThis collection of short stories contains the well-known classic, "To Build a Fire," and that story deserves its place at the summit of American short stories. What the collection Lost Face has, however, are several other Jack London short stories that are sure to hold your attention. The title story, "Lost Face," depicts how a man's ability to keep his head in a dire situation saves him from a fate worse than death. My personal favorite in this collection is "That Spot," a great story for anyone who has owned or had to deal with a difficult dog. The narrator of "That Spot" remarks that there was something about Spot that made him uneasy, and the reader soon understands what that meant. This is a great collection of short stories, one which I recommend to anyone who likes Jack London's writing.Lost Face OverviewSketches by Boz is Dickens earliest work in fiction writing. He started his career by writing humorous sketches using the pen-name ""Boz"". This collection was first published in 1836 and portrays life, people and their attitudes. These sketches are a reflection of the genius that was Dickens.

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Whole Wide World Review

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Whole Wide World ReviewThis near-future police procedural is unfortunately one of those genre-crossing novels that's probably not going to get the attention it deserves from either pure science fiction or crime readers. That's a pity, because while it may not contain enough sci-fi elements for that cadre, it is one of the better crime novels I've read in recent years. The story is set in London, about ten years in the future. Temperatures are regularly in the 90s (presumably due to global warming), and the effects of a terrorist attack on London's information systems several years ago are still unfolding. The forces of morality have grown notably stronger (including a proliferation of Legion of Decency type organizations), and Internet blue laws prohibit the production of online porn in the UK. Another effect of the "Info War" is an intensification of state surveillance of public space, led by an experimental networked and artificially intelligent system of CCTV camera linked to police systems. This system, which uses facial recognition technology to track people as they move through London, is only a short step from reality, which helps impart a greater sense of immediacy and realism that many sci-fi books have.
In this setting is a diminutive fortysomething techie detective, stuck in a crummy job in a dying IT division of the Metropolitan police. Like many a fictional detective hero, he can't escape a dark past, leaving him ostracized and more or less a loner, save for an ex-girlfriend he's trying to win back. His sad little existence is interrupted by his routine involvement in a very non-routine case-the torture and murder of a young woman, broadcast via webcams across the Internet. He manages to second himself to the flashier homicide unit that takes over the case, and is soon in deep. Clues point toward a master porn techie who's been in trouble before for stalking, but there's also the matter of the woman's uncle, who happens to be the guru behind the new CCTV camera system technology. Naturally, obstacles, red herrings, and all manner of bedevilment impede the detective's progress, but like all obsessed heroes, he persists 'till the bitter climax. The book actually loses a bit of steam in the end, when the action leaves London and shifts to Cuba, which has remade itself as host for websites that no one else will host. McAuley's gritty future London is an integral part of the story, and Cuba never comes alive in the same way. It's not the most original mystery, but the prose crackles and draws you deep into the hero's unhappy life while presenting a fascinating imagining of the near future, and the combination is something quite unusual and worth reading.Whole Wide World Overview

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Witz (American Literature Series) Review

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Witz (American Literature Series) ReviewThis reminded me of a post-Holocaust Kafka, combined with Joycean wordplay, Pynchonesque ideas, and Beckettian melancholy. The words derived from "Jew" never appear except in the subtitle. Their absence haunts this ambitious novel.

For Joshua Cohen's own version of a "lipogram," a work with a missing symbol, Benjamin Israelien's void after another, now total, global decimation of the Chosen People erodes him from the inside out. His inauthenticity as a Jewish survivor provokes the animosity of the rest of the world. Ben alone remains to become what turns out more the scapegoat than the Messianic harbinger with tidings of comfort and joy. Cohen stretches his somber saga over eight hundred pages.
The novel's span challenges neat summation. Briefly, his family and his birth-- full grown, bearded, hirsute--takes up the first couple of hundred pages with fine print and extended riffs. Cohen relishes food, babble, trivia. The demise of the Jews quickly gives way to their kitsch revival, "in a language nobody speaks but everybody's studying."
Cohen hurries over whatever sense would be in this catastrophe, oddly. He grants us a few powerful scenes of media coverage of this sudden death. Logic diminishes; a reader must put up with whatever Cohen dishes out to a put-upon Ben and the sketchily drawn cabal that unsuccessfully manages his marketing.
He makes us pay attention to the page. It takes patience to stay afloat amid so many verbal depth charges. Submerged into this book, you gasp for air. The force of Cohen's atmosphere presses down on you.
Ben stops at where he would have gone to school, "yet another inheritance deferred." There, "chalk remains from the happy clap of appreciative erasers smeared into the spirals of shoes out on permanent recess." Cohen can write, certainly. But does he write.
It's no wonder Kafka and his Castle edge into the setting at his re-created Whateverwitz, in an inverted "Messianic victory of the bornagain." Why the rest of humanity would wish to convert never gets answered. (Who supervised their conversions after the demise of the firstborn, with all those but Ben born-Jewish dead, I wondered?) People simply change, in a dream logic that pulls along enigmatic, infantile, behemoth Ben against this current of subversion.
I felt that Cohen insisted on a chiasmus -- an inversion of Jew and non-Jew, persecution and acceptance -- that left him no other choice than this for his story. This pace barely bothers with plot. Cohen's concern's not with character. Instead, Cohen determines to force us to accept his world based on ideas, language, and monologues more than dialogues. Perhaps as with Torah or Talmud, this text documents an anthology of human foibles and restrictions and pleas rather than a seamless literary narrative, despite (or in spite of) its very craft.
The firstborn before they will succumb to another plague wonder: "what is a question? How to answer. Will you be at all. Or will you opt out. Don't you want to be. When you're all grown up to dead. Their seder to be interrupted -- libelous, the matzah weeps blood. The seat at the head of the table is empty and will be forever. You'll get used to it." Passages like this may elicit emotion, but they nestle within adamantine blocks of prose. Chunked chapters may crush the patience of all but the few readers nimble enough to catch the Yiddish, the Hebrew, the Judaica tossed here into a tall, deep scrap pile.
In its messianic themes, breadth of Jewish references, and dense erudition, Witz recalls Arthur A. Cohen's In the Days of Simon Stern (1972). In its headlong final rush into the evocation of the Holocaust by its last survivor, Joseph Cohen, it echoes passages from George Steiner's The Portage to San Cristobal of A.H.(1980). This stand-alone coda of thirty pages as one death sentence after a life lived in pain and struggle is titled "Punchlines." Breathed into one long recital -- after eight hundred pages of Ben's tale, which lurched about as its protagonist did in an unstable, wobbly gait -- the novel's last gasp finds its stand-up routine that knocks them dead, a negative correlation, its center of gravity.
In its demands, Witz nears Tolstoy's epics in length and Kafka's fables in tone. Combine these with Ben's character of gargantuan appetites, albeit one who eludes the sympathy of the patient, if baffled, reader. The result may be less successful than some of Cohen's storied predecessors, yet it may surprise you. A few readers may undertake Cohen's rigorous wake. It resurrects linguistic excavations and intellectual fixations as a narrative "Exodust" that burrows into a tome nine years in the making.Witz (American Literature Series) Overview
One of the great comic epics of our time: the Last Jewish Novel about the Last Jew in the World.
On Christmas Eve 1999, all the Jews in the world die in a strange, millennial plague, with the exception of the firstborn males, who are soon adopted by a cabal of powerful people in the American government. By the following Passover, however, only one is still alive: Benjamin Israelien; a kindly, innocent, ignorant man-child. As he finds himself transformed into an international superstar, Jewishness becomes all the rage: matzo-ball soup is in every bowl, sidelocks are hip; and the only truly Jewish Jew left is increasingly stigmatized for not being religious. Since his very existence exposes the illegitimacy of the newly converted, Israelien becomes the object of a worldwide hunt . . .Meanwhile, in the not-too-distant future of our own, 'real" world, another last Jew-the last living Holocaust survivor-sits alone in a snowbound Manhattan, providing a final melancholy witness to his experiences in the form of the punch lines to half-remembered jokes.

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Divided Kingdom Review

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Divided Kingdom ReviewIn Divided Kingdom society has become troubled and fragmented - obsessed with acquisition and celebrity, it is a place defined by misery, envy, and greed. Crime is rampant; the courts are swamped, the prisons overflowing, the divorce rate following marriage quickly and predictably. Faced with lawlessness and chaos, the current government - hidden in an underground bunker - is forced to make a radical decision.
The Kingdom is to be divided into four countries, this political solution, or "rearrangement" comes with considerable risk, but is seen as the only alternative to avert certain anarchy. Each citizen is psychologically assessed and placed, sometimes with force, into four administrative units, each corresponding to one of the medieval "humours."
There's the Red Quarter, inhabited by the cheerfully sanguine, and where Matthew Micklewright, our main protagonist, then aged eight, lives; the Yellow Quarter, where the choleric rage and beat each other up; the Blue Quarter, populated by the stoically phlegmatic; and the "Green Quarter that harbors melancholic depressives.
Concrete boundaries are thrown up, rigidly controlled by the border police, and each country is sealed, fearful of the threat of psychological contamination. The rearrangement deliberately manufactured to create a climate of suspicion and denial between each country - people burying parts of their personalities that don't fit, and hiding their secrets that could now be judged and condemned.
One night, as the roundup begins, young Matthew is cruelly separated from his parents and taken to an immensely sinister boarding school, where he is lectured on the Rearrangements political rationale. The country had become "a troubled place," an enthusiastic Miss Groves tells the class, and this resolution was seen as the only alternative. Subsequently our hero -now renamed Thomas Parry- is given a new family and groomed for advancement in the Red Quarter regime as a civil servant.
After years of studying and career diligence, Thomas is finally given the senior administrative job he has been aiming for; this involves the ongoing process of psychological testing and relocation of members of the population who fail to meet the demands of his quarter. Now he is able to attend commissions and attend cross-border conferences, a privilege available only to the autocratic elite.
Dispatched to a cross border conference in the Blue Quarter, Thomas clandestinely visits a nightclub, the Bathysphere. Shocking images of his past come back to haunt him, of his mother, and of his first true love. He isn't sure what to make of these memories, all he knows is that he has experienced something so totally profound and addictive that it skews his sanguine nature, setting him on a course of self-discovery as he travels through the divided kingdom's four quarters.
Thomas becomes caught up in a terror attack in the Yellow Quarter; is shipwrecked on the coast of the Blue Quarter, and is farmed off to an angst-ridden Green Quarter boarding house, eventually escaping and joining the itinerant and stateless White People, a band of nomadic outsiders who drift aimlessly from quarter to quarter, spurned and shunned by the populations of this new and unsettling world.
Reticent of Huxley's Brave New World, author Rupert Thomson, rather than focusing on the nuts and bolts, the mechanics of this dystopian world chooses instead, to chart Thomas's tortured emotional landscape, as he becomes an outlaw, a fugitive, traveling from quarter to quarter, experiencing first hand each facet of the human condition. Our hero starts off with such noble pursuits and intent, convinced that his role is safe guarding the values and integrity of the Red Quarter. "I realized that he had to fight for the system, had to believe in it, or my removal from my family will have been for nothing."
But as Thomas travels, and witnesses the Yellow Quarter's inhumanity, the Blue Quarter's innocently sweet nature, and the Green quarter's chronic depressives, he realizes that the divided kingdom is united after all, by just one thing: "longing," a longing by most people to perhaps be reunited again.
But like the Kingdom he journeys through, Thomas realizes early on, that there will be no going back, there would be no going back to the part of him that had been buried for so many years, and there would be no more glimpses of that forgotten life. Going to Club Bathysphere exposed the need in Thomas, the ache - the hollowness that lay beneath a life so seemingly well ordered, even charmed. Fragments of another life had been released, altering him forever. His experiences lead him to admit that everything he had built had been revealed for what it was - "mere scaffolding."
Thompson evokes a bleak, desolate, almost apocalyptic world, where the psychological outlines of the different Quarters are sharply defined; its landscape of fleeting female figures, semi-erotic encounters, and of canals, waterways, and even underwater seas. It's also a world of transient, almost spiritual figures, fighting for survival in cities that embody all that is selfish and self-absorbed about capitalism.
Although the narrative tends to lose impetus towards the end, Divided Kingdom is mostly a gripping saga, a part adventure story, and part treatise on the human experience, a portrait of a world that is divided into a type of "psychological racism," where misguided authorities " have force-fed us our own weakness - our intolerance, our bigotry, to create a world where the people seem to need it, and even thrive on this type of prejudice." Mike Leonard November 05.
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If the Witness Lied Review

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If the Witness Lied ReviewThe Fountain family has faced endless grief within the last couple of years and their future seems quite bleak as well. First the children's mother died, after refusing treatment for her fatal cancer so that she could give life to their baby brother Tris. Then, just two years later their father dies in a terrible accident leaving the four Fountain children alone and parentless with only their self-involved Aunt Cheryl left to care for them.
Within weeks the two Fountain daughters, Madison and Smithy flee, one going to live with her godparents and the other going to a boarding school hundreds of miles away. This leaves Jack to be the strong one, the one to take care of Tris, because Cheryl really only cares about herself and home makeover shows on TV.
As Tris' third birthday approaches, Cheryl decides that she is ready for fame and sells the family's soap-opera story to a reality television producer and Jack knows that his life is about to be thrown upside down once again. The thing is though this event brings the family together again. Along the way they find out some troubling information that makes them think....did the witness of their dad's death lie?
I believe if you looked up Caroline B. Cooney up in an encyclopedia you find "... author of heart-thudding thrillers." I could literally not stop reading this book and absolutely gobbled it up. The book as a whole was great, but there were definitely some holes that I wish had been patched up.
First of all, the plot was very original and was the driving force behind the "heart-thudding" feeling you got while reading the book. I loved how the author took a mystery and turned it into a novel about family, friendship, trust, loss, and love. These themes melded perfectly throughout the book and really made the reader take a step back and evaluate their own life in a different light. I did have a couple issues with the plot though. Some of the events, such as Cheryl gaining custody automatically over the children and there being no original investigation into the father's death, were completely left out. This left a big gap for me as I felt it could have been a crucial part in the story. The storyline was also a bit predictable, but the suspense created by the little details really helped the reader to not focus on what was coming next.
As for characters, this is really where the book lacked. All of the characters were one-dimensional; especially the adults, and I wish they were so much more. The little we did get to learn about the characters though was great. Jack was definitely the hero in the book and by far a favorite, as he sacrificed his social life in order to step up to the plate and care for his younger brother.
Another plus for this book is the author's writing style. She made the book incredibly realistic and all throughout the story I felt like I was reading an article from the local newspaper instead of a piece of fiction. Also the point of view she wrote the book in was quite interesting. It felt like a mix between third and first person, but all in the present tense, much like in Lisa McMann's novels. This quirky style took a while to get used to but in the end it definitely added to the book.
Overall this was a good novel that all teen readers will enjoy. It had enough action to satisfy anyone and will definitely keep you on the edge of your seat. I loved how the author dealt with the breaking and healing of a family and really showed what love is and its immense powers.
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Fever Crumb Review

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Fever Crumb ReviewFever Crumb is a prequel of sorts to Philip Reeve's fantastic Hungry Cities/Mortal Engines series. I say "of sorts" in that it's set in the pre-history of the Hungry Cities world but far back enough in time that Fever Crumb doesn't act as a direct lead-in to the larger series, but rather sets up the major concepts and incipient events of that series rather than give us more of the same characters. Though it's set earlier, I'd still recommend beginning with the later books because while I enjoyed Fever, the Mortal Engines books have a much stronger impact (think starting the Narnia series with The Lion the Witch and the Wardrobe vs. The Magician's Nephew)
In the later series, cities are large, mobile monstrosities that war with one another in order to gain needed resources, one city devouring another. It's an annex or be-annexed world. In Fever Crumb, though, London is still geographically bound to one place, though smaller localities have taken up the nomadic life and one such alliance from the North--The Movement--appears on the horizon seemingly ready to invade. People are clearly on edge, especially as it wasn't all that long ago that there had been a violent uprising in London against the Scriven, the long-lived and seemingly inhuman tyrannical overlords who had ruled over London for centuries. All the Scriven were killed or driven out, but the memory of death and violence is still fresh, as is resentment toward anything remotely "other."
Fever is a young woman, a foundling brought up by Doctor Crumb in the uber-rational guild of Engineers who consider emotions silly and hindrances to logical living (they live, fittingly enough, in a giant head). The book mostly begins when Fever is sent out to work on an archaeological dig with Kit Solent, who is looking into secrets possibly buried beneath the home of the last Scriven overlord.
Clearly Reeve is going to be working several plots here. One is the simple suspense of the encroaching Movement--what do they want? Is it an invasion or something different? Will London fight or not? Another is the suspense regarding the dig--what, if anything, will they uncover? Will uncovering it be a good or bad thing? Yet a third is Fever's slow discovery of the truth of her lost background. Still focused on Fever, Reeve also explores her growing conflict between the rational, emotion-free approach she's spent near her whole life with and her newly-awakened sense of the emotional life. There are side-plots and mysteries as well surrounding several other characters: Doctor Crumb, Kit Solent, the old man who killed the last Scriven overlord and who remains ever vigilant, the old man's young apprentice in Scriven-hunting (called "skinning" for reasons you might imagine), and an ambitious tavern owner seeking to use the unrest to his own ends.
The characters are all pretty complex, even those that don't get a lot of page time. It'd be tough to accuse any of them save one or two of being "stock" types and those that are play a pretty minimal role. But from Fever to Kit to the old man and his apprentice, Reeve has created complicated, human, fully fleshed out characters.
The story does sometimes (not often and not for long) lag here and there--I would have argued for a stronger edit of Fever's back-story for instance--, but while I wouldn't call it "gripping" it mostly it pulls you along quickly and smoothly as you're eager to learn what happens. You'll also enjoy many of the mangled bits and pieces of our time that get sprinkled into the language of Fever's era, though a few times these felt a little forced. And there are just some wonderful bits of creative imagery here that I won't spoil, though it's tempting to rave about one in particular.
While not quite as strong as the Mortal Engines books, Fever Crumb stands well enough on its own and is certainly worth a read, even for those unfamiliar with the series. But as mentioned, while I recommend reading Fever, I strongly recommend doing so after picking up the series, not so much for plot as for a stronger introduction to Reeve's writing. If for some reason you don't and find you're not enamored with Fever, don't let it prevent you from trying the series.Fever Crumb Overview

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The Carpet Makers (Orson Scott Card Presents) Review

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The Carpet Makers (Orson Scott Card Presents) ReviewThis work is a striking science-fiction examination of absolute power on an inter-galactic scale. The translation from the German is excellent and the ideas presented are profound. Mr. Eschbach is obviously a student of Orson Scott Card and the book is rife with references to such Card stories as Unaccompanied Sonata, Kingsmeat, Fat Farm and others. In fact, the feeling of reading this work took me back to my discovery of Card in the pages of OMNI magazine.
Suffice it to say that the story revolves around the "hair carpet" a breathtakingly intricate work built up of individually knotted strands of human hair. Only men can be a carpet maker and they, of necessity, spend their entire life on one carpet. Ultimately, the work consumes the life of the maker only to finance the next generation's toil. As only one son can inherit, the household must consist of several wives and a house full of daughters to produce a requisite variety of hair colors. Extra sons aren't given a job out in the fields...
The work is less a novel and more of an expanded short story; the author paints a broad picture by the use of inter-related episodes that roughly tie together. The underlying theme and story provide a framework strong enough to carry the work without the need for one fully-developed character. In fact, spending more time on characterization would have detracted from the impact of this work.
I honestly could not put the book down until it was over. The ending is that killer-twist so reminiscent of early Card stories. The themes are profoundly German; there is a distrust of power in all its varieties, whether derived from religion, government, family or social expectations. Regardless of how you approach the work be prepared to think about the ideas presented for days.
Mr. Eschbach is on my must purchase list. TOR would do well to start translating his work as fast as possible.The Carpet Makers (Orson Scott Card Presents) Overview

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The Handmaid's Tale (Everyman's Library) Review

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The Handmaid's Tale (Everyman's Library) ReviewI have read "The Handmaid's Tale" a number of times, both in English original and in Croatian translation (a pretty good one). First time I read it, it was because I have found it in a library of a Women's Study Centre in Zagreb, Croatia, so I expected it to be "feminist literature", and was therefore a bit cautious about it, thinking it would be some kind of pamphlet for women's liberation. Of course, I did not know anything about Margaret Atwood back then. First thing this book taught me is that M. Atwood is, above all, a great author, and that "The Handmaid's Tale" is a piece of plain good literature.
The somewhat circular narrative centres around and is being told from the perspective of Offred, a woman living in Republic of Gilead, the dystopian, future theocracy established on the teritory of today's United States of America. Gilead's government is organized by a group of very specific religious fanatics, basing their theology on a couple of chapters from the Old Testament, specifically the story about Sarah, Abraham's wife, who could not bear children, and therefore had given Abraham her handmaid, Hagar, to concieve children with her. Also written in that chapter is God's command to Hagar to completely submit to her mistress, and Abraham's observation that Sarah is to do whatever she pleases with her handmaid.
That is the point from which the treatment of handmaids is derived in the Republic of Gilead. As the increasingly polluted land caused infertility withing majority of women, the fertile ones, especially those who have been either married to divorced men (theocracy of Gilead does not recognize divorce), or single, but not virgins, are taken as "handmaids" to be awarded to high ranking families without children.
Offred has been given to the family of The Commander, one of the highest ranking officials of Gilead, married to Serena Joy, a bitter and slightly desillusioned fanatic. Her narrative focuses on describing daily routines in their household, her experiences and her memories of a past, normal life, with a husband and a daughter.
Apart from political description of Gilead's ideology (which is given masterfully, without unneccessary and boring descriptions, yet with frightening details), the main value of this book lies in Offred's introspection. She is a person completely determined by her biological function as a woman and a child-bearer, completely deprived of any other individual merrits or rights. The way Offred deals with that is beautifully portrayed; sometimes in a flow that resembles free-association ("It's strange now, to think about having a job. Job. It's a funny word. It's a job for a man. Do a jobbie, they'd say to children, when they were being toilet-trained. Or of dogs: he did a job on the carpet...The Book of Job."), sometimes completely ripped-off of any emotions, yet almost physically hurtful with recognition and fear of it possibly coming true.
Granted, Margaret Atwood did write about a woman deprived of her rights in a male-dominated world here, but I don't believe it is a feminist pamphlet. It's a book about human condition, as any other good book; talking about what people are capable of doing, good or bad.
Another note. This, of course, is a speculative fiction, a dystopian one, like Huxley's "Brave New World" or Orwell's "1984". However, I have heard many people say that this one is the least probable one in terms of ever becoming a reality, and therefore fruitless in its message. To these people, I would recommend reading some news from Afghanistan, since Talibans took over.The Handmaid's Tale (Everyman's Library) Overview

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