There But For The
This book had two five star reviews on Amazon and has an interesting premise, that's why I chose it. Apparently it was also well reviewed by The Guardian. A couple in Greenwich hold a dinner party, one of their guests Mark brings a friend Miles, between the main course and the sweet, Miles locks himself in the spare room and refuses to leave, this lasts for days, then weeks then months.
The blurb of the book says :
Imagine you give a dinner party and a friend of a friend brings a stranger to your house as his guest.
He seems pleasant enough.
Imagine that this stranger goes upstairs halfway through the dinner party and locks himself in one of your bedrooms and won't come out.
Imagine you can't move him for days, weeks, months. If ever.
So, this is the question, and the people this happens to are Genevieve and Eric Lee (Gen and Eric - ooo isn't THAT clever....? Sigh.) Gen and Eric and Miles are the people that are caught in this event, but we do not hear from them. The novel is split into four sections 'There' 'But', 'For' and 'The' and each section focuses on a different character.
'There' introduces Anna who is summoned to Greenwich by Genevieve after she finds Anna's email on Miles' phone, but Anna hasn't seen Miles in nearly twenty years and cannot do anything for Genevieve and cannot explain why he had her email address.
'But' gives us Mark Palmer, the man responsible for bringing Miles to the dinner party but he barely knows him either.
'For' gives us Mary, the most connection she has to Miles is that he still remembers the anniversary of her long dead daughter Jennifer, and visits her or sends a card once a year.
'The' ends the novel with Brooke and the perspective on events of a nine year old who attended the dinner party with parents.
The 'But' section told in the third person about Mark recounts in minute detail the events of the dinner party. Gen, Eric and their friends are revealed to be patronising, self important fools who invited Mark because he was homosexual (my, how interesting) and Brooke's parents because they were black (how disappointing that they were not from Africa, as was thought, but Harrogate) On previous occasions they had included a Jewish and a Palestinian family at one of their soirees. (so entertaining) The dinner party conversation, a long, or it felt long section basically amounts to reading about a group of insufferable people having insufferable conversations. If I had been attending this dinner party I would have made an excuse and left, and that's what I wanted to do with this book, leave. If this book is making any social comment it is about privileged white people looking down their noses at minorities and using them for a curiosity and entertainment value. The fact that the characters are so dislikeable makes it thoroughly unpleasant reading.
In addition, the rest of the book is quite random. We are introduced to elderly Mary in her hospital bed, and are told her story, and you spend the majority of her section wondering who she is, how she connects, and when you discover why she does, what the hell it has to do with anything. Mark's section is random too, a hodge-podge of his inner thoughts and rhymed conversations with his dead mother (Irritating) and then Brooke, the written equivalent of a precocious child talking at you incessantly for a very long time about nothing. Intensely irritating. Waffle.
The really frustrating part of this book is that the true story rests with the characters Gen, Eric and Miles and we hear NOTHING from them. The psychology of an event such as this, the effect of an intruder within your personal home, your space who won't leave, and the psychology of a man who feels the need to do this, the inner workings of his mind whilst isolated in a spare room, are NOT EXPLORED WHATSOEVER. And that is not only what would make the book intriguing, but is also what it falsely purports to be about. Even the introductory section with Anna involves much pointless waffle.
Also, I refuse to believe that the Lee's would have allowed the situation to continue as interminably as they did for the sake of an expensive door. I refuse to believe that the Community Mental Health Services wouldn't have intervened very early on, or at least that the police wouldn't have taken more action than simply knocking on the door. The ending is also a waste of time, a TOTAL anticlimax.
Ridiculously exasperating this novel is without a doubt the worst I have read on this challenge. Pretentious and the worst case of Emperor's New Clothes I have EVER seen. 0/10
Thursday, 30 June 2011
Wednesday, 29 June 2011
Book #53 The Suspicions Of Mr Whicher by Kate Summerscale
The Suspicions Of Mr Whicher Or The Murder At Road Hill House
Winner of The Galaxy Book Of The Year, British Book Awards 2009, Winner of the BBC Four Samuel Johnson Prize and Shortlisted for The Crime Writers Association Gold Dagger, this book has considerable pedigree. It was also A Richard and Judy Number One Bestseller, but never mind.
In a nice, middle class family, with a nice middle class home in June 1860, a toddler vanishes from his bed in the middle of the night. His bloodied, brutalised corpse is discovered the following day, but who did it? And why?
The Murder At Road Hill House isn't just A Locked Room Mystery, of the sort you see in many Agatha Christie novels or the sort you compete to solve when you play a game of Cluedo. It is THE Locked Room Mystery. The original real-life crime, which inspired popular detective fiction of the era, and the impact of which is still felt in crime fiction today. For those who don't know what is meant by Locked Room Mystery, it is now the fodder of Murder Mystery Weekends. A murder occurs in a country house, the doors were locked for the night, the only possible culprit has to have resided in the house that evening. It's been seen in Poirot, Marple, Doctor Who and even most recently in Steig Larsson's The Girl With The Dragon Tattoo albeit on a grander scale. In the case of Road Hill House, there was no elaborate dinner party involving a vicar, a disgruntled nephew, and a wealthy American socialite; just the Kent family, a husband and wife, seven children and a few servants.
Jack Whicher was among a new breed of plain clothes detectives recently established by Scotland Yard sent to Wiltshire to help solve the crime, but the locals and the nation at large reject his findings. What emerges is an astonishing picture of just how fallible and frankly rubbish the early judiciary system was in Britain. To question someone of good social standing or class, or of an age or gender that would be unseemly, is considered an affront to decency regardless of grounds, but it is the class system that truly is an over-riding factor. In addition, public speculation was apparently encouraged with any Tom Dick or Harry across the nation as a whole believing they had the right to have a say on the case. Juror meetings were held in public, cross examination was ridiculously biased, and the press were allowed a veritable free-for-all on editorial comment.
The utter lack of respect for the legal process is breathtaking, and Summerscale comments at length at the way in which though Mr Whicher had his suspicions, the nation had its suspicions of Whicher. The very existence of a plain clothes force was again considered an affront to decency, the privacy of the Englishman and his home were at stake. These values apparently worth more than the advantages of modern progress in crime solving. Following the Road Hill House case Whicher finds himself a laughing stock and his career is ruined. Whilst fictional detectives of the type written by Wilkie Collins and Charles Dickens surged in popularity their real-life counterparts were considered 'vile' and 'grubby'.
Where this non fiction book succeeds is in the way in which it brings the story of The Kent Family in the earlier half of the book to life, almost but not quite in the manner of a Victorian novel. Where it slightly falters are the moments in which it begins to read like a PhD thesis, and becomes a bit dry and academic. What is certain though is the phenomenal amount of research and background work Summerscale has put into this book, and the respect it deserves for breathing new life into an old but highly influential tale. 9/10
Winner of The Galaxy Book Of The Year, British Book Awards 2009, Winner of the BBC Four Samuel Johnson Prize and Shortlisted for The Crime Writers Association Gold Dagger, this book has considerable pedigree. It was also A Richard and Judy Number One Bestseller, but never mind.
In a nice, middle class family, with a nice middle class home in June 1860, a toddler vanishes from his bed in the middle of the night. His bloodied, brutalised corpse is discovered the following day, but who did it? And why?
The Murder At Road Hill House isn't just A Locked Room Mystery, of the sort you see in many Agatha Christie novels or the sort you compete to solve when you play a game of Cluedo. It is THE Locked Room Mystery. The original real-life crime, which inspired popular detective fiction of the era, and the impact of which is still felt in crime fiction today. For those who don't know what is meant by Locked Room Mystery, it is now the fodder of Murder Mystery Weekends. A murder occurs in a country house, the doors were locked for the night, the only possible culprit has to have resided in the house that evening. It's been seen in Poirot, Marple, Doctor Who and even most recently in Steig Larsson's The Girl With The Dragon Tattoo albeit on a grander scale. In the case of Road Hill House, there was no elaborate dinner party involving a vicar, a disgruntled nephew, and a wealthy American socialite; just the Kent family, a husband and wife, seven children and a few servants.
Jack Whicher was among a new breed of plain clothes detectives recently established by Scotland Yard sent to Wiltshire to help solve the crime, but the locals and the nation at large reject his findings. What emerges is an astonishing picture of just how fallible and frankly rubbish the early judiciary system was in Britain. To question someone of good social standing or class, or of an age or gender that would be unseemly, is considered an affront to decency regardless of grounds, but it is the class system that truly is an over-riding factor. In addition, public speculation was apparently encouraged with any Tom Dick or Harry across the nation as a whole believing they had the right to have a say on the case. Juror meetings were held in public, cross examination was ridiculously biased, and the press were allowed a veritable free-for-all on editorial comment.
The utter lack of respect for the legal process is breathtaking, and Summerscale comments at length at the way in which though Mr Whicher had his suspicions, the nation had its suspicions of Whicher. The very existence of a plain clothes force was again considered an affront to decency, the privacy of the Englishman and his home were at stake. These values apparently worth more than the advantages of modern progress in crime solving. Following the Road Hill House case Whicher finds himself a laughing stock and his career is ruined. Whilst fictional detectives of the type written by Wilkie Collins and Charles Dickens surged in popularity their real-life counterparts were considered 'vile' and 'grubby'.
Where this non fiction book succeeds is in the way in which it brings the story of The Kent Family in the earlier half of the book to life, almost but not quite in the manner of a Victorian novel. Where it slightly falters are the moments in which it begins to read like a PhD thesis, and becomes a bit dry and academic. What is certain though is the phenomenal amount of research and background work Summerscale has put into this book, and the respect it deserves for breathing new life into an old but highly influential tale. 9/10
Tuesday, 28 June 2011
Book #52 Case Histories by Kate Atkinson
Case Histories
The second female writer I have chosen is Kate Atkinson who rose to public notice when her debut novel 'Behind The Scenes At The Museum' won The Whitbread Book Of The Year. This novel, Case Histories, is the first of (currently) four Jackson Brodie novels in which the protagonist is an ex-soldier, ex cop and at the start of this novel, a private investigator. It came to my attention through its recent enjoyable adaptation on the BBC, which was an adaptation of this novel and subsequent Brodie novels One Good Turn and When Will There Be Good News? as a six part series. I'm something of a purist, and though I've seen the adaptation, I don't feel I can read new novel 'Started Early, Took My Dog' until I have read the three preceding novels.
The novel introduces us to three old unsolved cases, that Jackson has been approached with to investigate:
The first is the disappearance of Olivia Land who vanished aged 3 in the 1970's from the family garden, and was never found.
The second is the shock murder of 18 year old Laura Wyre, ten years previously, for whom no killer nor motive could be found.
And the third is a guilt ridden woman searching for her sisters long lost child.
What is interesting is that all three cases are women and 'Lost Girls' seem something of a recurrent theme for Brodie, who himself has an unresolved case of a lost girl in his own life.
What is slightly off-putting when you do see an adaptation first is the differences between the TV and the book, there are subtle differences in each case, but the two most glaring differences are the end of the story (for Jackson) and its setting which, thoroughly Scottish in adaptation is located in Cambridge in the book. This makes some sense though as the two following novels relocate to Edinburgh, so the adaptation just moves all three books there. I did find it interesting whilst watching it, that in the first two episodes which show the stories of Case Histories; all Jackson's clients are clearly English and not just English and living in Scotland, but this goes unremarked on. This is a fault of the series not the book though, which is true to its setting.
It is difficult not to write a review that merely compares book to show, as this is the immediate thought. Unfortunately having seen the show I knew the outcome of each case. In many ways this didn't matter, what is great about Case Histories is that it is neither a crime novel nor solely contemporary literary fiction, crossing both categories admirably. A well written contemporary novel that happens to feature the investigation of mysteries. Perhaps the Land girls story is a cliche, and perhaps Jackson realises what kind of suspect killed Laura Wyre too quickly but he is an ex cop and ex army. The overall novel is very well written and held together nicely by the characterisation of Jackson himself, an extremely likeable man. If you didn't see the series, good as it was, I think you are lucky as you get to view the cases with fresh eyes, enjoy the story and then get the DVD and enjoy watching scary Lucius Malfoy (Jason Isaacs) become smouldering Jackson Brodie.
The ending of Case Histories seems to suggest that further Brodie novels were not planned, but perhaps Atkinson like the reader, finds Jackson Brodie a little hard to resist. I look forward to reading the other novels particularly recent new novel 'Started Early, Took My Dog' 8/10
The second female writer I have chosen is Kate Atkinson who rose to public notice when her debut novel 'Behind The Scenes At The Museum' won The Whitbread Book Of The Year. This novel, Case Histories, is the first of (currently) four Jackson Brodie novels in which the protagonist is an ex-soldier, ex cop and at the start of this novel, a private investigator. It came to my attention through its recent enjoyable adaptation on the BBC, which was an adaptation of this novel and subsequent Brodie novels One Good Turn and When Will There Be Good News? as a six part series. I'm something of a purist, and though I've seen the adaptation, I don't feel I can read new novel 'Started Early, Took My Dog' until I have read the three preceding novels.
The novel introduces us to three old unsolved cases, that Jackson has been approached with to investigate:
The first is the disappearance of Olivia Land who vanished aged 3 in the 1970's from the family garden, and was never found.
The second is the shock murder of 18 year old Laura Wyre, ten years previously, for whom no killer nor motive could be found.
And the third is a guilt ridden woman searching for her sisters long lost child.
What is interesting is that all three cases are women and 'Lost Girls' seem something of a recurrent theme for Brodie, who himself has an unresolved case of a lost girl in his own life.
What is slightly off-putting when you do see an adaptation first is the differences between the TV and the book, there are subtle differences in each case, but the two most glaring differences are the end of the story (for Jackson) and its setting which, thoroughly Scottish in adaptation is located in Cambridge in the book. This makes some sense though as the two following novels relocate to Edinburgh, so the adaptation just moves all three books there. I did find it interesting whilst watching it, that in the first two episodes which show the stories of Case Histories; all Jackson's clients are clearly English and not just English and living in Scotland, but this goes unremarked on. This is a fault of the series not the book though, which is true to its setting.
It is difficult not to write a review that merely compares book to show, as this is the immediate thought. Unfortunately having seen the show I knew the outcome of each case. In many ways this didn't matter, what is great about Case Histories is that it is neither a crime novel nor solely contemporary literary fiction, crossing both categories admirably. A well written contemporary novel that happens to feature the investigation of mysteries. Perhaps the Land girls story is a cliche, and perhaps Jackson realises what kind of suspect killed Laura Wyre too quickly but he is an ex cop and ex army. The overall novel is very well written and held together nicely by the characterisation of Jackson himself, an extremely likeable man. If you didn't see the series, good as it was, I think you are lucky as you get to view the cases with fresh eyes, enjoy the story and then get the DVD and enjoy watching scary Lucius Malfoy (Jason Isaacs) become smouldering Jackson Brodie.
The ending of Case Histories seems to suggest that further Brodie novels were not planned, but perhaps Atkinson like the reader, finds Jackson Brodie a little hard to resist. I look forward to reading the other novels particularly recent new novel 'Started Early, Took My Dog' 8/10
Saturday, 25 June 2011
Book #51 The Ninth Life Of Louis Drax by Liz Jensen
The Ninth Life Of Louis Drax
My first selection in my challenge to showcase some female authors comes from Liz Jensen, suggested to me by one of my Twitter followers. Of her novels, I decided upon The Ninth Life Of Louis Drax, because I liked the title, and because I was afraid that recent novel The Rapture might bear too much similarity in topic to Justin Cronin's The Passage.
Louis Drax is a 9 year old French boy and self-labelled "Disturbed Child". Called Wacko Boy at school his mother sends him to a therapist to whom he feeds outrageous lies, so that he won't have to tell him the things that are really disturbing him. Louis addresses the reader in the first person and has a very distinctive narrative voice, of a child who psychologically just somehow isn't right.
Suddenly and unexpectedly the book introduces a second narrator Pascal Dannachet, a Doctor reflecting upon his treatment of Louis. It emerges that the cocky, funny, troubled Louis we have been introduced to has been in a terrible accident, and is comatose.
We do not lose Louis' voice however, the point-of-view narrative switching from Pascal to Louis' world inside his coma, where he has begun his ninth life. To begin with, Louis is just a new and interesting patient to Pascal but suddenly he finds himself drawn into a seductive web of psychological deceit and supernatural occurrences.
This is a really good book, with an outcome you feel like you should have seen coming but didn't, as secrets are revealed and then revealed to be twisted, it becomes all the more compelling. Though the Pascal segments work better than the "Louis in the coma" segments, the latter are still worthwhile. It is layered, tense, and an interesting examination of human behaviour, both from a point of view of child psychology, and the psychology of a doctor with a need to save. I felt perhaps that the very quick blurring of professional doctor/relative boundaries was unrealistic but the resulting situation works well in its impact on all elements of the novel.
What is really good about this novel is its accessibility and its ability to have universal appeal, I think whatever style of novels you read, there is a place for The Ninth Life Of Louis Drax among your purchases.
I liked Pascal, and was particularly moved at his closing remarks, still envisioning ways in which he can save Louis, a boy who perhaps never wanted to be saved....
I have a very high opinion of this novel, and read it quickly and compulsively 9/10
My first selection in my challenge to showcase some female authors comes from Liz Jensen, suggested to me by one of my Twitter followers. Of her novels, I decided upon The Ninth Life Of Louis Drax, because I liked the title, and because I was afraid that recent novel The Rapture might bear too much similarity in topic to Justin Cronin's The Passage.
Louis Drax is a 9 year old French boy and self-labelled "Disturbed Child". Called Wacko Boy at school his mother sends him to a therapist to whom he feeds outrageous lies, so that he won't have to tell him the things that are really disturbing him. Louis addresses the reader in the first person and has a very distinctive narrative voice, of a child who psychologically just somehow isn't right.
Suddenly and unexpectedly the book introduces a second narrator Pascal Dannachet, a Doctor reflecting upon his treatment of Louis. It emerges that the cocky, funny, troubled Louis we have been introduced to has been in a terrible accident, and is comatose.
We do not lose Louis' voice however, the point-of-view narrative switching from Pascal to Louis' world inside his coma, where he has begun his ninth life. To begin with, Louis is just a new and interesting patient to Pascal but suddenly he finds himself drawn into a seductive web of psychological deceit and supernatural occurrences.
This is a really good book, with an outcome you feel like you should have seen coming but didn't, as secrets are revealed and then revealed to be twisted, it becomes all the more compelling. Though the Pascal segments work better than the "Louis in the coma" segments, the latter are still worthwhile. It is layered, tense, and an interesting examination of human behaviour, both from a point of view of child psychology, and the psychology of a doctor with a need to save. I felt perhaps that the very quick blurring of professional doctor/relative boundaries was unrealistic but the resulting situation works well in its impact on all elements of the novel.
What is really good about this novel is its accessibility and its ability to have universal appeal, I think whatever style of novels you read, there is a place for The Ninth Life Of Louis Drax among your purchases.
I liked Pascal, and was particularly moved at his closing remarks, still envisioning ways in which he can save Louis, a boy who perhaps never wanted to be saved....
I have a very high opinion of this novel, and read it quickly and compulsively 9/10
Reflections at the Halfway Point
On completing Nigel Farndale's 'The Blasphemer' I have now reached 50 books and am officially halfway through the challenge. I have made it to 50 before the end of the first 6 months and am slightly ahead of myself now. As far as the challenge has been going for me, May was particularly difficult, I realised that I was slightly behind and towards the end of May became stressed out about needing to read to keep the pace going. Reading because of necessity rather than desire can somewhat spoil your enjoyment of the book, so the challenge has had to a degree that effect, though June has been much calmer.
I have noted however that of the 50 books I have read just TWELVE have been written by female authors, as a woman with writing aspirations I feel I must remedy this forthwith and have set myself a challenge within a challenge to make sure that the next 10 books I read are by women. This resolve however may be jeopardised by the forthcoming release of the fifth A Song Of Ice And Fire book, George R.R Martin's 'A Dance With Dragons' on 12th July. Which gives me 17 days to read 10 books. Pressure.
In terms of the Don't Read That Read This aspect the Top 10 Read This books would be as follows:
1) A Game Of Thrones (and then its sequels)
2) The Vintner's Luck
3) Lady Chatterley's Lover
4) The Things They Carried
5) My Antonia
6) Rivers Of London
7) A Monster Calls
8) The Art Of Racing In The Rain
9) Physics Of The Impossible
10) The Immortal Life Of Henrietta Lacks
In the Don't Read That Corner - Top 10
1) The Obelisk
2) Crow Country
3) The Good Man Jesus and The Scoundrel Christ
4) The Year Of Magical Thinking
5) The Patience Stone
6) Joe Gould's Secret
7) The Girl With Glass Feet
8) The Blasphemer
9) The New York Trilogy
10) One Day
with everything else falling somewhere in between the two and being classified as average.
Anyhow enough typing, back to reading. Let us see what the female authors I've chosen have to say for themselves. Here come the girls.
I have noted however that of the 50 books I have read just TWELVE have been written by female authors, as a woman with writing aspirations I feel I must remedy this forthwith and have set myself a challenge within a challenge to make sure that the next 10 books I read are by women. This resolve however may be jeopardised by the forthcoming release of the fifth A Song Of Ice And Fire book, George R.R Martin's 'A Dance With Dragons' on 12th July. Which gives me 17 days to read 10 books. Pressure.
In terms of the Don't Read That Read This aspect the Top 10 Read This books would be as follows:
1) A Game Of Thrones (and then its sequels)
2) The Vintner's Luck
3) Lady Chatterley's Lover
4) The Things They Carried
5) My Antonia
6) Rivers Of London
7) A Monster Calls
8) The Art Of Racing In The Rain
9) Physics Of The Impossible
10) The Immortal Life Of Henrietta Lacks
In the Don't Read That Corner - Top 10
1) The Obelisk
2) Crow Country
3) The Good Man Jesus and The Scoundrel Christ
4) The Year Of Magical Thinking
5) The Patience Stone
6) Joe Gould's Secret
7) The Girl With Glass Feet
8) The Blasphemer
9) The New York Trilogy
10) One Day
with everything else falling somewhere in between the two and being classified as average.
Anyhow enough typing, back to reading. Let us see what the female authors I've chosen have to say for themselves. Here come the girls.
Book #50 The Blasphemer by Nigel Farndale
The Blasphemer
The Blasphemer by Nigel Farndale was shortlisted for the 2010 Costa Book Award, and frankly, it rather beats me as to how that happened. It isn't that it is a BAD book, dreadful to read or anything like that; it's a book which if it were a person would suffer from multiple personality disorder. It doesn't seem to know what it is, or what it wants to be. There are about five storylines:
The link between all these strands is Daniel: Philip is his father, Martha his daughter, Hamdi her teacher and Wetherby his colleague. But it just doesn't work. What frustrated me whilst reading this book is that each strand, taken alone, is a brilliant premise for a novel.
The first storyline could have been a brilliant examination of the effect of a being a disaster survivor upon a relationship, the second a great historical novel about love, cowardice and the folly of war. The third a creepy, atmospheric tale about a sinister saboteur who sets out to destroy an oblivious friend. The fourth a commentary about the treatment of Muslims in a post 9/11 and 7/7 world, and the last a look at the modern world in which parents live in a culture of fear with regard to child safety.
Instead, the novel is none and all of these things, an awful mish-mash of half ideas, concepts imagined and left hanging. It really feels as though Farndale started five separate novels, got writers block and in the end just bunged them all together. It's really odd, and feels like not just a wasted opportunity but five wasted opportunities. Particularly, I felt, in the character of Wetherby alone there was real potential for deep character development and a dark psychological thriller, in the vein of Ian McEwan's Enduring Love or Zoe Heller's Notes On A Scandal, but this does not occur.
In addition there is an examination of faith versus atheism underpinning the novel, but this again feels 'thrown in for good measure', underdeveloped and lacking in anything new to say. The end twist involving Hamdi does raise a small smile, but then the epilogue feels superfluous after this denouement.
One of the reasons I bought this novel was because of the amount of 5 star reviews it had on Amazon, which, I must say I'm a bit baffled by. One reviewer on Amazon said this :
A book of opportunities wasted, I'm going to give this 5/10 a point for every great novel it could so easily have been.
The Blasphemer by Nigel Farndale was shortlisted for the 2010 Costa Book Award, and frankly, it rather beats me as to how that happened. It isn't that it is a BAD book, dreadful to read or anything like that; it's a book which if it were a person would suffer from multiple personality disorder. It doesn't seem to know what it is, or what it wants to be. There are about five storylines:
1) Daniel and Nancy go on an exotic holiday for their anniversary and events permanently change their relationship.
2) Andrew, a young soldier fights in WW1, whilst his grandson Philip tries to piece together his story
3) Wetherby, an embittered, pious, dried up academic seeks to destroy a colleagues career out of jealousy and spite
4) Hamdi, an innocent Muslim teacher is labelled as a 'clean-skin' and potential terrorist by the Security Services when he is accidentally caught up in a demonstration.
5) Martha, an overly mature 9 year old, begins behaving oddly and then goes missing.
The link between all these strands is Daniel: Philip is his father, Martha his daughter, Hamdi her teacher and Wetherby his colleague. But it just doesn't work. What frustrated me whilst reading this book is that each strand, taken alone, is a brilliant premise for a novel.
The first storyline could have been a brilliant examination of the effect of a being a disaster survivor upon a relationship, the second a great historical novel about love, cowardice and the folly of war. The third a creepy, atmospheric tale about a sinister saboteur who sets out to destroy an oblivious friend. The fourth a commentary about the treatment of Muslims in a post 9/11 and 7/7 world, and the last a look at the modern world in which parents live in a culture of fear with regard to child safety.
Instead, the novel is none and all of these things, an awful mish-mash of half ideas, concepts imagined and left hanging. It really feels as though Farndale started five separate novels, got writers block and in the end just bunged them all together. It's really odd, and feels like not just a wasted opportunity but five wasted opportunities. Particularly, I felt, in the character of Wetherby alone there was real potential for deep character development and a dark psychological thriller, in the vein of Ian McEwan's Enduring Love or Zoe Heller's Notes On A Scandal, but this does not occur.
In addition there is an examination of faith versus atheism underpinning the novel, but this again feels 'thrown in for good measure', underdeveloped and lacking in anything new to say. The end twist involving Hamdi does raise a small smile, but then the epilogue feels superfluous after this denouement.
One of the reasons I bought this novel was because of the amount of 5 star reviews it had on Amazon, which, I must say I'm a bit baffled by. One reviewer on Amazon said this :
Farndale has been compared by many to Sebastian Faulks; both for his descriptions of WW1 and tying together contemporary themes, such as fundamantalism, (sic) science and faith. Having read both 'Birdsong' and 'One week in December' (sic), I think The Blasphemer does it better.There is NO comparison in my eyes between this book and the sublime Birdsong, or between Farndale and Faulks. I find myself slightly horrified by the suggestion. I feel like she should wash her mouth out to be honest, as should any of these 'many' making comparisons. Yes, I thought 'A Week In December' was dreadful, but that book is the exception to my experience with Faulks as a writer. Faulks, at least, takes one idea and develops it, whereas Farndale can't seem to decide what the hell he wants his book to be about. There are some ridiculous 'as if' coincidences at the end too, such as the conclusion of the Wetherby storyline and the Martha storyline.
A book of opportunities wasted, I'm going to give this 5/10 a point for every great novel it could so easily have been.
Thursday, 23 June 2011
Book #49 Dolores Claiborne by Stephen King
Dolores Claiborne
I have been asking a variety of people to recommend me books and particularly their favourite books so I can, if I haven't already read them, include them in the blog. This was my friend Jimmy's pick, and he has insisted I read Dolores Claiborne to the point of harassment, I faithfully promised I would, and now, eventually, have fulfilled that promise.
My problem I suppose, and the reason I delayed reading it is from certain prejudices I hold against Stephen King. I'm not a horror fan, I think the real world is scary enough, I know a lot of people who read King read him because they want to be scared, but frankly it doesn't take a whole lot to scare me.
In my university years, a group of us watched shark B-movie thriller 'Deep Blue Sea', I jumped so often that afterwards my friends said watching me watch Deep Blue Sea was more fun than watching the actual film. Another problem with Stephen King is that many of his books have entered popular culture in such a way that you already "know" their story. How many people don't know the ending of Carrie? How many people don't know what Misery is about, or The Shining, or know that when you say a dog is like 'Cujo' that you mean he resembles King's canine? It's almost like you don't need to read the books, even if you haven't seen the adaptations.
I'm a little bit prejudiced too against his output, he has in his 38 year career written 49 novels, more than one a year, it seems a case (maybe) of quantity over quality, the unfortunate consequence of popularity being high demand for new material...despite not being a fan, or really a regular reader, I had somewhat labelled him in my mind as a 'churns them out on a conveyer belt for the cash' writer. Perhaps I have no right to say so having read so little of his work, but one of my best friends who has read nearly all of his books assures me that the quality of his recent work pales in comparison to his early novels.
Prior to Dolores Claiborne, I had read 'The Green Mile' (later a Tom Hanks vehicle) and 'Different Seasons' - a non horror short story collection which gave birth to the films: The Shawshank Redemption, Apt Pupil and Stand By Me. My overall verdict was that each film adaptation was better than the writing it came from, and I'm pretty much somebody who says the book always beats the film (with certain exceptions like The Godfather, and, somewhat controversially, The Lord Of The Rings)
It was many years later that I started the Dark Tower Series, a series of seven books with a legion of ardent fans. It begins with The Gunslinger, a dark post apocalyptic novel which is beyond a doubt a fantastic book. If a book, or its imagery lives in your mind long afterward then it is a fantastic book. Unfortunately, I was less impressed with the second and third novels The Drawing Of The Three, and The Waste Lands, and the fourth book Wizard and Glass lost me entirely, on the grounds that I felt it was over-blown and given that from the first three novels we already knew much about the fall of Gilead, I felt that venturing into Roland's past was to tell a story with an already established outcome.
Stylistically, I felt that the flashbacks should perhaps have been punctuated by the ongoing journey story with the four main leads, as it would have prevented the book from dragging as much.
I haven't entirely written Stephen King off, the book I hear people most praise is The Stand, and I have that book ready and willing to be read. I came to Dolores Claiborne (through Jimmy) first though, and with no real idea of what to expect.
The book is written in monologue form, its protagonist Dolores, is being interviewed by the police regarding the death of her employer, and the words are entirely "her own". There is no descriptive prose and it features no dialogue from the three people in the room with her. Dolores is the storyteller, they, are her audience.
The narrative voice succeeds well, an elderly housekeeper who though not particularly educated is wily, bitchy, and has a don't-give-a-fuck attitude. The kind of cantankerous old biddy you wouldn't want to cross. It sounds authentic and effortless, as though King has a good ear for picking up the rhythm of the older woman who likes to tell a good story.
The story itself is pretty simple, told in the present and the past Dolores talks of the difficulties of working for a demanding and bitchy boss, and of how the two came to be kindred spirits in more ways than one. The story flicks between the two, when Dolores first began working for Vera as a pregnant young wife, and her days as her carer and companion at the end of her life. It is really two stories as well..the story of how demanding it is to be a carer and the story of how suffocating a bad marriage to a bad husband can be. Despite this, the story holds few surprises, the problems in Dolores's marriage are the usual cliches and Vera's early characterisation as the wealthy domineering boss is cliched too.
What is quite heartwarming is the way in which these two women become the glue that holds the other together, and the way in which they keep each others secrets.
It's a short book, and an easy read. I enjoyed it, but I don't think it's a extraordinary book. I'm glad I read it, it has a potboiler quality that sort of drags you in. It's a page turner, but it doesn't make waves with any originality, except for perhaps in the very well executed use of the monologue form.
Can't decide between a 6/7 out of 10
I have been asking a variety of people to recommend me books and particularly their favourite books so I can, if I haven't already read them, include them in the blog. This was my friend Jimmy's pick, and he has insisted I read Dolores Claiborne to the point of harassment, I faithfully promised I would, and now, eventually, have fulfilled that promise.
My problem I suppose, and the reason I delayed reading it is from certain prejudices I hold against Stephen King. I'm not a horror fan, I think the real world is scary enough, I know a lot of people who read King read him because they want to be scared, but frankly it doesn't take a whole lot to scare me.
In my university years, a group of us watched shark B-movie thriller 'Deep Blue Sea', I jumped so often that afterwards my friends said watching me watch Deep Blue Sea was more fun than watching the actual film. Another problem with Stephen King is that many of his books have entered popular culture in such a way that you already "know" their story. How many people don't know the ending of Carrie? How many people don't know what Misery is about, or The Shining, or know that when you say a dog is like 'Cujo' that you mean he resembles King's canine? It's almost like you don't need to read the books, even if you haven't seen the adaptations.
I'm a little bit prejudiced too against his output, he has in his 38 year career written 49 novels, more than one a year, it seems a case (maybe) of quantity over quality, the unfortunate consequence of popularity being high demand for new material...despite not being a fan, or really a regular reader, I had somewhat labelled him in my mind as a 'churns them out on a conveyer belt for the cash' writer. Perhaps I have no right to say so having read so little of his work, but one of my best friends who has read nearly all of his books assures me that the quality of his recent work pales in comparison to his early novels.
Prior to Dolores Claiborne, I had read 'The Green Mile' (later a Tom Hanks vehicle) and 'Different Seasons' - a non horror short story collection which gave birth to the films: The Shawshank Redemption, Apt Pupil and Stand By Me. My overall verdict was that each film adaptation was better than the writing it came from, and I'm pretty much somebody who says the book always beats the film (with certain exceptions like The Godfather, and, somewhat controversially, The Lord Of The Rings)
It was many years later that I started the Dark Tower Series, a series of seven books with a legion of ardent fans. It begins with The Gunslinger, a dark post apocalyptic novel which is beyond a doubt a fantastic book. If a book, or its imagery lives in your mind long afterward then it is a fantastic book. Unfortunately, I was less impressed with the second and third novels The Drawing Of The Three, and The Waste Lands, and the fourth book Wizard and Glass lost me entirely, on the grounds that I felt it was over-blown and given that from the first three novels we already knew much about the fall of Gilead, I felt that venturing into Roland's past was to tell a story with an already established outcome.
Stylistically, I felt that the flashbacks should perhaps have been punctuated by the ongoing journey story with the four main leads, as it would have prevented the book from dragging as much.
I haven't entirely written Stephen King off, the book I hear people most praise is The Stand, and I have that book ready and willing to be read. I came to Dolores Claiborne (through Jimmy) first though, and with no real idea of what to expect.
The book is written in monologue form, its protagonist Dolores, is being interviewed by the police regarding the death of her employer, and the words are entirely "her own". There is no descriptive prose and it features no dialogue from the three people in the room with her. Dolores is the storyteller, they, are her audience.
The narrative voice succeeds well, an elderly housekeeper who though not particularly educated is wily, bitchy, and has a don't-give-a-fuck attitude. The kind of cantankerous old biddy you wouldn't want to cross. It sounds authentic and effortless, as though King has a good ear for picking up the rhythm of the older woman who likes to tell a good story.
The story itself is pretty simple, told in the present and the past Dolores talks of the difficulties of working for a demanding and bitchy boss, and of how the two came to be kindred spirits in more ways than one. The story flicks between the two, when Dolores first began working for Vera as a pregnant young wife, and her days as her carer and companion at the end of her life. It is really two stories as well..the story of how demanding it is to be a carer and the story of how suffocating a bad marriage to a bad husband can be. Despite this, the story holds few surprises, the problems in Dolores's marriage are the usual cliches and Vera's early characterisation as the wealthy domineering boss is cliched too.
What is quite heartwarming is the way in which these two women become the glue that holds the other together, and the way in which they keep each others secrets.
It's a short book, and an easy read. I enjoyed it, but I don't think it's a extraordinary book. I'm glad I read it, it has a potboiler quality that sort of drags you in. It's a page turner, but it doesn't make waves with any originality, except for perhaps in the very well executed use of the monologue form.
Can't decide between a 6/7 out of 10
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