Resurrected Review: The Pyrates, by George MacDonald Fraser

Resurrected Review: The Pyrates, by George MacDonald Fraser

by Rich Horton

George MacDonald Fraser (1925-2008) was a British journalist, novelist, and screenwriter. He is by far most famous for his comic historical novels about Harry Flashman, in which he made the cowardly character from the 19th Century novel Tom Brown's Schooldays into a hero (or antihero). I read the bulk of these with enjoyment as a teen. I plan to read his very long novel Mr. American sometime (it is peripherally related to the Flashman books.) But some years ago I read his comic novel The Pyrates, and I've resurrected what I wrote about that book.

According to Fraser, a man named Manders set him a painting of the deck of a pirate ship, packed with colourful piratical (or pyratical) characters. He decided the painting was too good to waste, and wrote this novel around it. When he was done, he wanted to use the painting as the book's cover, but he could not locate the mysterious Mr. Manders. They used the painting for the cover anyway. That story seems to good to be true in a way -- I wonder if he wasn't having us on.

The novel is a loving and over-the-top parody of pirate adventures, both cinematic (i.e. Errol Flynn) and literary (i.e. Rafael Sabatini and Jeffery Farnol) -- indeed, Fraser includes a long list of "influences" at the end of the book. It's told in a postmodern fashion, with plenty of deliberate anachronisms and direct addresses to the reader, reminding us of what is sure to happen, the book being fiction and all. It's very funny, in a way that is at times almost distracting, or perhaps tiring. Which seems an odd complaint -- that a purposely funny book might be too funny -- but at times I put it down simply because I was tired of the constant jokes.

The story concerns a valuable crown, with six jeweled sections, entrusted (by Samuel Pepys) to Our Hero, Captain Ben Avery, for safe delivery to the King of Madagascar. But unfortunately Avery's ship, in the charge of one Admiral Rooke, is secretly manned by a crew of pirates, who wish to free their comradess, the beautiful and bloodthirsty black woman pirate Sheba, who is being transported to prison (or a slave camp or something) on the same ship. They free Sheba, and also steal the crown, which conveniently splits six ways. In the mean time they also kidnap the beautiful daughter of Admiral Rooke, Vanity, who has fallen in love with Ben. And Ben is accused of the theft of the crown. So he must attempt to recover the six pieces of the crown, as well as rescuing Vanity, and also restoring his good name. And his only help is in the dubious person of the rascally Captain Thomas Blood, who ended up on the same ship, and who also has his eye on Vanity's virtue.

Naturally Ben will ultimately be successful, but not before facing the attentions of numerous women who fall in love with him, such as Sheba, Anne Bonney, and a lovely young Spanish woman; and also dealing with the evil and sadistic designs of the Spanish governor in the New World; and also dealing with Captain Blood's various betrayals, most of which actually end up helping things, if only by accident; and also dealing with cannibals and religiously zealous natives and his own agent. And so on. It's intricately but of course not plausibly plotted, wickedly funny, all in all a good read if as I implied somehow less that a true masterwork.

Review: Æstival Tide, by Elizabeth Hand

Review: Æstival Tide, by Elizabeth Hand

by Rich Horton

Æstival Tide (1992) is Elizabeth Hand's sequel to Winterlong, which I reviewed here. My copy is the Bantam Spectra first edition mass market paperback (remember those?) It has not been reprinted since 1992, except for the ebook available from Open Road.

The novel is set about a year after Winterlong. It shares with that book only one character, the mad Aviator Margalis Tast'Annin, who was killed at the end of the first novel. This novel opens with a scene of his "resurrection", as a rasa, essentially a zombie, and in this case a zombie in a robot body. He is now in the city of Araboth, an arcology (remember them?) located in what was once Texas, on the Gulf of Mexico. The city has been governed for centuries by the Orsina family, who seem to be in some sense loosely the rulers (or to consider themselves the rulers) of what remains of the old US, after the First and Second Ascensions. Unlike in Winterlong, some of this is detailed in exposition, and it mostly tracks with what I had deduced from reading the first novel, though I confess I has assumed the ruling "Ascendants" lived in space stations. (And perhaps they do, and the Orsinas are yet another layer of rulers.) 

The society depicted in Winterlong was cruel, but that shown in Araboth basically tells the aristocrats of that book "Hold my beer"! The Orsinate's power revolves around a city's worth of slave labor in various forms (with the cruelly resurrected rasas the lowest of the low.) They arbitrarily arrest people on the slimmest excuse or none, usually executing the prisoners, they breed people and genetically altered animals for sex, they perform human sacrifices often, culminating in the Feast of Fear every decade at Æstival Tide. It's as appalling a society as I've seen portrayed, and an oddly small one (Araboth, at the time of the novel, houses only some 20,000 people, though its capacity is much higher.) The residents fear the Outside, and any mention of it is potentially punishable by death. The ruling family is terribly inbred, and at the time of the novel (which takes place over just a few days) there are three surviving sisters, and one semi-exiled brother. (Although one sister and the brother had had an affair which resulted in a child so deformed that they abandoned it.) Margalis Tast'Annin had had an affair with the youngest Orsina woman, and when he broke it off he was sent off to the front, first returning a hero but then sent again on his abortive mission to the old Capitol, described in Winterlong.

That's the setup -- revealed over time in the novel, and, as I said, some of it a bit baldly revealed. (Which may have been the right choice in this book.) The novel itself revolves mostly around two characters. One is a 14 year old hermaphrodite named Reive who by chance becomes involved, to her peril, in the intrigues of the Orsinas, partly because she is able to properly interpret some dreams -- of the Outside. The other is another teenager, Hobi, the son of the Architect Imperator -- that is, the man in charge of the Architects, AIs that maintain the city and keep it structurally sound despite the storms that threaten it on the Gulf. Reive's adventures bring her to the attention of the sisters who rule the city, as well as associates such as the dwarf Rudyard Planck and the pharmacologist Ceryl Waxwing. Reive, in her earlier life in the lower levels of Araboth, had also ambiguously befriended the genetically engineered sea creature Zalophus, who longs to escape the city. Hobi, for his part, is taken by the exiled Orsina brother Nasrani to a room at the bottom of the arcology where he meets a beautiful android named Nefertity, who may have knowledge that could help people survive Outside -- or that could reveal some critical military secrets. Both Reive and Hobi, in different ways, confront hints and prophecies that the city may not survive the storms at this Æstival Tide, which is due in just a couple of days.

It's a novel that is by turns sickeningly beautiful and grotesquely horrifying -- and sometimes quite moving. The history it is built upon is even worse than we already knew from Winterlong. It's well-written though it didn't, for me, attain the heights of Winterlong. The imagination revealed is expansive and always intriguing. The characters are mostly quite mad, but believably so. I didn't like it as much as I liked Winterlong, but I think it's a worthwhile novel, and I am looking forward to the final novel of the trilogy, Icarus Descending. (Which is advertised as The Eve of Saint Nynex in the author bio at the end of the book -- I think the eventual title a bit better, and doubtless more marketable.) 

Review: Expect Me Tomorrow, by Christopher Priest

Review: Expect Me Tomorrow, by Christopher Priest

a review by Rich Horton

Christopher Priest was born in 1943 and died earlier this year, at the age of 80. His first sale was "The Run", to Impulse in 1965. His first novel, Indoctrinaire, appeared in 1970, and he began to get wide recognition for his reality-bending fiction with novels like Inverted World (1974) and A Dream of Wessex (1977). His best known novel is probably The Prestige (1995) which was made into a successful movie by Christopher Nolan. A large portion of his work concerns the Dream Archipelago, a world-spanning belt of islands on another planet, which is featured in a number of short stories (including the classic "An Infinite Summer") and five novels.

Priest's fiction shows an abiding interest in the nature of reality, often involving virtual reality, or dream worlds (mental creations), or, in The Prestige, illusions. He also seems fascinated by twins, though to my knowledge he was not himself a twin (unless you count the comics writer named James Priest who works professionally as "Christopher Priest", a situation which could plausibly have become fodder for a Priestian story.) Expect Me Tomorrow, from 2022, his second to last published novel (in his lifetime, at any rate), features two sets of twins, and a sort of virtual experience to boot. It's also a climate change book.

It's set in two different times. One thread follows Adler and Adolf Beck, identical twins born in Norway in the middle of the 19th Century. Adler becomes a glaciologist, like their father, who died while studying a Norwegian glacier, while Adolf, called Dolf, is less stable: at first an aspiring opera singer, and later devoted to somewhat risky business ventures. We follow their story mostly from Adler's point of view, as he becomes interested in climate, not just as affected by glaciers, but also the Gulf Stream and sunspots and volcanoes. He and his brother move first to England, then to the US, where Adler meets a brilliant woman astronomer, and after the two marry they return to England. Meanwhile Dolf has traveled to South America to pursue his opera career, but eventually returns to England pursuing some business plans.

The other thread is set in 2050, and concerns another pair of identical twins, Chad and Gregory Ramsey. Chad is a psychological profiler, working for the police, while Greg is a journalist. Catastrophic climate change has made Europe a very dangerous place, with most of the continent descending into chaos. Chad lives in Hastings, on the English coast, and his life there is getting difficult -- he has lost his job (the police aren't interested any more in the subtleties of profiling now that they are dealing with internal and external climate refugees), while Hastings is clearly not going to be inhabitable much longer. But Greg revives Chad's interest in an old family story -- their disreputable great-great-granduncle Adolf. The reader figures out right away that Adolf is the Dolf Beck of the other timeline, though Chad's investigation is complicated because he had not realized that his Norwegian ancestor had changed names from Beck to Ramsey at one point, presumably due to Adolf's notoriety as a criminal. However, Chad has a breakthrough when he learns that some (frankly grossly implausible) police tech allows him to communicate through time with his ancestors via their DNA samples. This is complicated because Adolf and Adler Beck, as identical twins, have identical DNA -- and Chad randomly contacts both of them at different times.

In the end, then, the story intertwines three plots -- 1) Adler's life as a climate scientist, eventually leading him to conclude that sometime in the middle of the 21st Century the world will be plunged into a new ice age; 2) Chad's struggle to adapt to the worsening climate conditions, even as eventually he gets involved with a company that may have found a hopeful path to a solution to the climate crisis; and 3) Adolf Beck's criminal past.

I found the novel quite enjoyable, with some reservations. I've already mentioned the magic tech that enables communication with the past -- but I was willing to swallow that as a story-enabling device. But also, there are a great many infodumps in the book, presented mostly as Adler discussing his scientific ideas, which come off as the writer letting his research notes take over the novel at times. Priest is not typically a writer of beautiful prose, and that's the case here -- nothing sings. But it is very clean and clear writing.

I should also mention that Priest has used an actual, and quite significant, historical character as one of his main characters, for Adolf Beck was in fact a Norwegian immigrant who was at times an opera singer, and a speculative investor, but who was sent to prison multiple times for running schemes to defraud women. This case is well-known to this day, as Beck was a victim of mistaken identity, and of very shoddy police work, and his case, in which he was eventually exonerated, led to important reforms in the British court system. (The story is so well documented that by the end it's quite implausible that Chad would have had the difficulty he's shown having in finding out what happened to his "Uncle Adolf", especially once he learns Adolf's name was Beck.)

The real Adolf Beck was not a twin, so Adler and his ideas are invented. But the whole thing works nicely together, with the double twins (the Becks and the Ramseys) being oddly mirrored by the additional "twin" -- the criminal who looked just enough like Adolf Beck to have Beck confused with him. The two threads held my interest, and the contrast between Adler's theory of a coming Ice Age and the actual 2050 catastrophic warming due to greenhouse gases (of which Adler was aware) ends up driving the conclusion of the novel in a moving and cautiously optimistic fashion. Adler and Chad are the primary POV characters, and they are both pretty ordinary men, with happy marriages, and good jobs at which they are quite skilled -- not perhaps the stuff of drama but effective enough to me. Having said that, it's fair to say that Adler and Adolf's story is only tenuously connected to the 2050 climate change story -- though the linkage via Adler's research interest, if slight, is just enough to hold things together.

I don't rank this among Christopher Priest's best novels, but I did like it. I think it might have done better with one more revision pass -- I don't know, of course, but I wonder if Priest knew he didn't have much time left as he wrote it, so didn't have a chance to do the revisions. He also may have felt that the climate change subject was urgent enough that he wanted to get the book out quickly.

Review: Winterlong, by Elizabeth Hand

Review: Winterlong, by Elizabeth Hand

by Rich Horton

Winterlong, from 1990, was Elizabeth Hand's first novel. (Her first story appeared in 1988, but I didn't really become aware of her until "Snow on Sugar Mountain" (1991), and it was really "Last Summer at Mars Hill" (1994) and "Chip Crockett's Christmas Carol" (2000) that clinched the deal. Since then, she's become a favorite, with stories like "Cleopatra Brimstone", "Illyria", "Near Zennor", "The Maiden Flight of McCauley's Bellerephon", and novels like Wylding Hall, Curious Toys, and Waking the Moon. But I still hadn't read her first three novels, a trilogy, Winterlong, Æstival Tide, and Icarus Descending. So when Readercon decided to have a panel on those novels this year, it was time to read them.

My copy of Winterlong is a 1997 reprint, from Harper Collins, with an afterword by Hand, which tells quite interestingly of the germination of the book. It is as I said a first novel -- with both the energy you expect, and some of the faults. But on balance it's a fabulous first novel. It's set in a post-apocalyptic future, in which there have been two previous "Ascensions" -- the nature of them unclear. The world as we see it is a mess.

It's one of those novels that drops you into its setting without telling you anything. This makes it hard going at the first, but before long it speeds up, and by the end the mysteries and ambiguities are a feature. We open with Wendy Wanders, an autistic girl (it is said) aged 17, who has been raised from a young age at the Human Engineering Laboratory (HEL), where she has been subjected to invasive brain surgery, and many experiments (and drugs.) This has made her an empath -- she can absorb emotions and memories from other people, either with an electical connection, or by tasting their blood. She believes she has no emotions of her own. She is also haunted by dreams or visions of a boy in a tree -- a hanged boy, perhaps, and has some intimation of a twin brother of her own. And, worse, her empathic connections seem to cause some people to commit suicide. As the facility in which she lives is taken over by a new staff loyal to the the mad Aviator Tast'Annin, who is the new Governor of the City, the doctor who has treated her most of her life has also committed suicide, and there are threats that Wendy's powers will be weaponized for a coming war..

The focus shifts to Raphael Miramar, a Paphian in the City, a City that is increasingly a dangerous place, with its new Governor and impending war, with the periodic viral strikes ("rains of roses"), with lazars and aardmen roaming the environs and kidnapping or killing anyone they can get to. The Paphians are prostitutes, members of several Houses. Raphael is, for now, the most prized catamite of House Miramar, having been adopted when young, though his twin sister, who never spoke, was sent away and is presumed dead. He is 17, and it's made clear that Paphians age out quickly. And he has decided to leave the House, for the patronage of a Curator, Roland. He hopes, while at the Curator's place -- a museum, of course -- he can actually gain some learning. And indeed he meets a woman who lets him help with her duties, and they begin to become close -- but that relationship comes to a shocking end. And we realize that Raphael too is plagued with dreams of a boy in a tree, and a sense that he is somehow an agent of Death. 

Readers will gather quickly that Raphael's missing twin is Wendy. And soon Wendy has escaped HEL in the company of an Aide, Justice, a member of a Paphian family, who is in love with her. Likewise Raphael is soon cast aside by his patron, and he finds himself at loose in the City, captured by lazars, and ready to confront Roland at the next chance he gets. Wendy and Justice find their way to a company of players (including an uplifted chimpanzee, Miss Scarlet Pan, who is the leading lady.) They put on old dramas (mostly Shakespeare.) Wendy is being searched for by the mad Aviator Tast'annin, and so disguises herself as a boy -- and is quickly confused for Raphael. Inevitably the fates of the two are entwined, and will converge eventually, and resolve the mystery of the Boy in the Tree while bringing Tast'annin's plans either to fruition or frustration.

The story is beautiful and horrifying. Death stalks the narrative, and death is easy and common in the City (which is readily recognizable as Washington, D. C.) I should say both sex and death are common, and often linked -- the prostitutes are abused as part of their expected roles, and are used sexually from very young ages, with the sex often violent. But there are many other ways to die in the City, and it's clear that life is similarly parlous throughout the rest of the geography of this future age. The prose is very lush, mostly to very good effect, especially in the final scenes, in which some passages are gorgeous and powerful. The novel is suffused with tragedy, and this never fails to wrench the reader. Important characters die in the first few pages, and at the end -- sometimes at the hands of our heroes, sometimes cruelly at the hands of villains, sometimes randomly. 

I'll quote one beautiful passage: "And there came to me then a great sound, the sound of singing. And I saw all of them, Emma and Aidan, Gligor and Merle and Anna, Dr. Silverthorn and Toby Rhymer, a white dog with eyes like burning ice and a girl who wanted to fly like finches, all of them like lights dancing in the air. With them shrilled the voices of the lazars, like wounds bleeding song, all of them crying out to me. Loudest of all was the piercing cry of a boy with fair tangled hair and green eyes, his hands streaming through the darkness like the purest moonlight and his eyes like burning stars." ("Wounds bleeding song" -- what a glorious image.)

It's not a perfect book. There are passages that drag a bit, and the strategy of telling the reader nothing, though appropriate, does make it hard to follow at times. That said, solving the mysteries, figuring out what the Ascensions were, and what the lazars are, and the aardmen, and the geneslaves, and so on, is enjoyable. The overall conflict is difficult to rationalize -- and perhaps that's only to be expected, but it does sometimes try the reader's patience. But all that is minor, and in the end this is a lovely and moving book, and the harbinger of a brilliant career -- which was indeed realized. 

Resurrected Review: Kiln People, by David Brin

As I continue working my way through novels by Elizabeth Hand and Christopher Priest in preparation for Readercon, I figured I'd resurrect a review to post here. This is David Brin's 2002 Hugo, Clarke, and Campbell shortlisted novel Kiln People.

(I actually wanted to post something I wrote about C. C. Finlay's alternate history fantastical Revolutionary War series, but I seem to have lost that somehow. But it's Charlie's birthday, so, Happy Birthday Charlie!)

Kiln People, by David Brin

a review by Rich Horton

Kiln People (2002) is set several decades in the future. The key technological innovation presented in the book is "golemtech" -- it has become possible to imprint a person's "soul", or "Standing Wave", into a clay model, a golem or ditto, which will then have all one's memories, and which can do errands for their "archtype".  These models last only a day, after which they return to the archtype, and the memories can be inloaded if the archtype so chooses.

This has resulted in an economic revolution.  Most of the grunt work is now done by low-quality golems, most of which don't even inload their (presumably boring) memories to their archtype.  As a result many people have no job, and live on the "purple wage".  Recreations include, predictably, unusual sex using special golems optimized for heightened sensation; as well as "clay operas" -- realistic dramas enacted with golems; and dangerous sports in which the loss of a golem is regretted only if it results in complete enough destruction that the memories cannot be inloaded.  A key change, too, is that wars are now fought as a form of "sport", with skilled soldiers sending fighting golems to such places as the Jesse Helms Memorial Battle Range to resolve international disputes.  These various tasks are done by golems of different sorts, by law all different colors: grey ones for relatively normal tasks, green ones for fairly menial work, white ones for extra sensation, ebony ones for intellectual focus, etc.

All this background detail is very well done.  Brin has done a neat job of pretty pure SFnal extrapolation -- taking a quasi-plausible and interesting bit of future tech, and trying to work out its effects on an entire society.

The story itself is basically a thriller.  Albert Morris is a private detective.  He ends up with several different "selves" investigating (in parallel, it turns out) the death of Yosil Maharal, one of the inventors of golem technology.  If it is murder (it might be accident or suicide) the suspects include Maharal's partner, Aenaeas Kaolin; a crime lord called Beta who has had many past encounters with Albert; Gineen Wammaker, a purveyor of sex dittos; and various fanatics, both anti-golem agitators, and those who want golems to have full civil rights.  This story is for the most part pretty exciting, and confusing is a good way that eventually gets resolved.  Albert's journeys, and those of his dittos (including a "frankie" -- a ditto who didn't copy true and wants to be independent of Albert), allow exploration of much of this future society.  The search for motives for the murder leads us to investigate some research, hence further extraploation: what would be the effect of dittos that could last longer than a day?  Of dittos that could be copied over long distances?  Of the possibility of loading somebody else's memories into your head?  All this is pretty interesting stuff.

Then, the book pretty much runs off the rails.  Why?  I think the answer is -- too much ambition.  Brin begins to explore even more metaphysical issues -- "souls" independent of the body, in another dimension -- life after death -- that sort of thing.  And in so doing he stretches his extrapolation to the point where my belief in it snapped completely.  The "mad scientist" finale really just about lost me.  I think the book would have been better if Brin had turned off his imagination at a certain point -- if he had been more conservative.

That said, though I think the silliness of some of the last 100 or so pages of the book is a severe flaw, it's still a pretty strong piece of SFnal extrapolation up that point, with some pretty decent action to the plotline.  Overall, I recommend the book -- worth reading, just not a great book.

Old Bestseller Review: The Hundredth Chance, by Ethel M. Dell

Old Bestseller Review: The Hundredth Chance, by Ethel M. Dell

by Rich Horton

Ethel M. Dell (1881-1939) was a writer of romance novels published between 1911 and her death. She was popular enough -- she made up to £30,000 per year -- that she was routinely disparaged in serious books at the time, and even nonserious books like those of P. G. Wodehouse. Her married name was Savage -- curiously appropriate given some of her sexual themes. She is largely forgotten these days, as with many very popular authors of that era who were considered lowbrow. As I am fascinated by popular fiction of the early 20th Century (and for that matter before and after!) I figured I needed to try her. I had bought a book of hers at an antique store some time ago, but it got buried in a box somewhere when we did some remodeling a couple of years ago, so instead I went to Project Gutenberg and downloaded a copy of The Hundredth Chance, from 1917.

I have to say, upon reading The Hundredth Chance, that I kind of get why she was popular. She wasn't a good writer -- but she was better (at the prose level, and even the character level) than many writers of her era. Certainly she was better than her contemporary E. M. Hull, another romance writer, best known for The Sheik. The Hundredth Chance is involving -- it keeps your attention, makes you care about the characters, even though every reader can guess the shape of the plot from the getgo. I note, too, that it was the 10th best-selling novel of 1917, according to Publishers' Weekly. 

That said, there are huge caveats to offer. For one thing, there are lots of unpleasant -- often unnecessarily unpleasant -- aspects to the book. There is plenty of casual racism -- several uses of the N-word, for one thing. There are no POC characters, so no outright offensive characterization, but there are attitudes. And there is violence against women -- one beating for example, and an attempted kidnap and rape using drugs. And -- perhaps most troublingly -- there is marital rape, over some time period. None of this is justifiable, but there it is. (I will add that his novel is rapey enough, but The Sheik is far more, and more offensively, rapey.)

And on the literary side, there are faults as well. I've already hinted at the predictability. There is also a heck of a lot of convenient coincidence, and some dei ex machinae. (A miracle cure, for one thing, and some sheer luck rescuing the heroine at the end. And more.) And while the characters are consistently and recognizably portrayed and differentiated -- they are still pretty two-dimensional. But for all that, the book does keep you reading -- and I enjoyed it.

The main character is Maud, a 25 year old woman who has spent much of her life caring for her 10 years younger brother Bernard, who is crippled. Maud's father, a baronet, is long dead. Her mother is a useless whiner. Maud herself had been close to marrying Lord Saltash, an engaging man who seemed to love her, and who is wealthy and of good birth. But Maud rejected him when she discovered his affair with a married woman. Her mother, rather mad at her for turning down such a good match, is, at the start of the book, ready to marry the vulgar local bar owner, to save the family, as she has run out of money. The bar owner turns out to be an abusive slob, and a bad businessman, and when he thrashes Maud she leaves, with Bernard (called Bunny.) 

She and Bunny have already met Jake Bolton, the groom who runs Lord Saltash's stables. Bunny and Jake have struck up a friendship. And Jake has clearly fallen for Maud, and has gone so far ask her to marry him -- an offer she refused, to some extent on the grounds that Jake is not of her social class. But now, with nowhere to go, Maud agrees to marry Jake, for protection. But she makes it clear that while she and Bunny will live with him, they will not sleep together. He makes one condition -- if they ever are living together alone -- that is, if Bunny is ever cured and can live on his own -- they must live "as man and wife". Maud agrees.

Jake and Bunny continue to be friends, and Jake is very good for him. And Jake is friends with an American doctor who just may be able to cure Bunny. At least, there is a chance in a hundred, and Jake is always ready to bet on  the "hundredth chance". But  Lord Saltash has returned. And he begins to attempt to seduce Maud. He urges her to divorce Jake, and come away with him. Maud is too moral to accept, but she still seems to warm to him, despite clear evidence of his immorality, in manners aside from his previous betrayal of her.

Things keep developing -- the American doctor comes, and is able to cure Bunny. This is great for Bunny, but Maud is torn in a way -- she has given over much of her identity to being his caretaker, and Jake has already taken some of that, with his male friendship. And now Jake -- already angry over Maud's apparent dallying with Saltash -- claims his right to live with her as "man and wife". Which leads to carefully offstage incidents of marital rape. Maud grows more and more miserable -- and a form of salvation arises when her wealthy uncle, who had cut his feckless sister (Maud's mother) off, agrees to have Maud and Bunny visit.

There's a lot more going on, and I've already said too much I think. There are horse races involving Jake's favorite horse, and some bad dealing from Lord Saltash, who is always ready to arrange to throw a race for money. There is a religious awakening of sorts in Maud. There is a scene where she is a convinced that Jake (who doesn't drink) is drunk -- due to Lord Saltash's lies. There is a fire, and heroism by both Jake and Maud. It seems that Maud might be pregnant, then she isn't -- and I'm honestly not quite sure if we are subtly shown that she lost the baby or if she really wasn't pregnant. And Saltash makes his final play for Maud -- and goes too far.

The thing is -- a lot of this is absurd. Hyson Concepcion, who mentioned reading Ethel M. Dell with (sometimes horrified, I imagine) enjoyment, upon someone telling her that it's meretricious trash, responded, "Of course it's meretricious trash. That's why I read it." I feel the same way -- there are certain writers who are just trashy enough (and slyly skilled enough) that they are simply fun to read in the right mood. Dell was one of those, it seems. I rolled my eyes at much of this book, but I kept reading, and I enjoyed it (with huge reservations, but hey!) 

I will note that I ordered a couple of used Ethel M. Dell books, and when they came I realized they were abridged, as part of something called the Barbara Cartland Library. Which reminds me that, if you want meretricious trash that ISN'T worth reading, Barbara Cartland's your woman. This is, I note, based on decades old memories of trying a Cartland novel or two after I ran out of Georgette Heyer, and realizing they were dreadful and boring. Anyway, I don't like to read abridged books, so I went to Project Gutenberg as noted above.

Review: The Book of Love, by Kelly Link

Review: The Book of Love, by Kelly Link

by Rich Horton

This may be the most anticipated first novel in the SF/Fantasy field of at least the past decade. Kelly Link has been publishing short fiction since 1995, and she attracted immediate attention. Indeed, in the first year end recommendations piece I did, at SFF Net in 1997, I listed "Flying Lessons", her third story, among my Best Novelettes, and wrote "Of those listed, I'd point special attention to the Kelly Link story, mainly because I think she is a new writer of considerable interest, based on the grand total of two stories of her's that I've read." That's one thing I think I got right!

Since then she has published close to 50 short stories, most included in her six collections (and one slim chapbook.) She has also edited several anthologies and co-edits the magnificent small 'zine Lady Churchill's Rosebud Wristlet with her husband Gavin Grant. Kelly and Gavin also have a bookstore, Book Moon, in Easthampton, MA (very close to my Dad's hometown of Hadley, close enough that last year before Readercon I drove out to west central Massachusetts to see my Dad's old house (and the school my grandmother taught at) and then visited Book Moon.) She has won the Tiptree/Otherwise Award, three Nebulas, a Hugo, a couple of World Fantasy Awards, a Sturgeon, a Stoker. And she has gained plenty of respect outside the genre as well, with numerous placements on "Book of the Year" lists, a Shirley Jackson Award, and being named a finalist for the Pulitzer Prize.

As for myself, I have a long list of Kelly Link stories I adore. I reprinted "The Summer People", "Secret Identity", "The Game of Smash and Recovery" and "The Girl Who did not Know Fear" in my Best of the Year volumes. Other favorites include "Magic for Beginners", "Lull", "Light", "The White Road", "The Faery Handbag", "The Specialist's Hat", and "Carnation, Lily, Lily, Rose". So I was certainly anticipating The Book of Love.

So what is it like? It's a big novel that takes place over a period of less than a week, in December of 2014 in the town of Lovesend, MA. There are four central characters, about as many nearly central characters, and many more who get brief POV sections. It's a fantasy, involving a Moon goddess, some nearly immortal characters, people coming back from the dead, and lots and lots of magic. It's also a pretty naturalistic story, about life in a semi-gentrified, semi-tourist town, with a noticeable focus on race, as one of the main characters is the grandson of a bestselling romance novelist who happens to be Black (but who only wrote one novel with a Black heroine.) Aspects of the novel reminded me of Elizabeth Hand's Waking the Moon, and as one of the main families in this novel is named Hand, I wondered if that might be a little nod to Hand's book. I should add that while there are some points of resemblance, the two novels are on the whole very different. 

The novel opens with Susannah Hand still mourning the death of her sister Laura, who had disappeared about a year before along with their neighbor Daniel Knowe (who was also Susannah's off-and-on boyfriend) and Mohammed Gortch, another friend of Susannah's. Susannah has graduated from high school but is kind of drifting. Laura and Mohammed were a year younger than Susannah and Daniel. Susannah, Daniel, and Laura were in a band called Our Two Hands Knowe You, while Mohammed was obsessed with music but very private about it.

Then, mysteriously, Laura, Daniel, and Mohammed escape whatever realm they went to when they died. And their music teacher, Mr. Anabin, makes bodies for them and sends them home, having altered the memories of everyone in Lovesend so that they are thought to have returned from a semester studying in Ireland. But there is a catch -- Mr. Anabin and a sinister shapeshifting creature named Bogomil are rivals of some sort, and they agree that the three returnees, plus a strange fourth, a boy named Bowie, must complete some magical tasks, after which, "Two stay, two return".

There follows a sort of whirlwind series of days -- just days -- in which the four returnees variously struggle with their increasing magical abilities (or resist them, in Daniel's case), and reintegrate themselves with their families: Laura with her sister and their mother and an unexpected visit from their father who left long ago; Daniel with his horde of step-siblings plus his mother and stepfather; Mohammed with -- well, the shocking realization that his grandmother (the romance writer) died in his absence (his mother was long dead) and all he has is his grandmother's assistant, Jenny Ping; and Bowie -- well, Bowie, who had died centuries before, has mainly to realize his own identity. Daniel and Susannah reignite their relationship, Mohammed breaks off with his occasional hookup before falling in love with a strange visitor named Thomas; Laura finally takes the chance to encounter her long time crush Rosamel; and Bowie -- well, things are different for Bowie.

All along there are occasional spooky encounters with Mr. Anabin and Bogomil, some definite indications of magic, and then the realization that there is a new more powerful entity in Lovesend, a goddess named Mala Mogge, whose servants are Anabin and Bogomil -- and Mohammed's new boyfriend Thomas. Mala Mogge is a tacky individual, evil incarnate in ugly costumes and shabby temples, and she is looking for her lost key -- which she is convinced one of the returnees has. And that's what the novel turns on -- what is this key? Where is it? And should whoever has it cooperate with someone as vile as Mala Mogge?

The novel is a bit of a slow burn. It's never not interesting, but it takes a while to cohere -- I think for good artistic reasons, but readers do need to stick with it. [I should add that upon letting the book simmer in my memory for a while, I have come to feel that some judicious cutting would have done it some good.] We do get an extended look at life in Lovesend -- the coffee shop, the Cliff Hangar bar, the school, Little Moon Bay. And we learn a lot about not just the main characters, but people like Mohammed's grandmother Maryanne, who writes as "Caitlyn Hightower"; and Rosamel Walker, the sassy Black Lesbian; and her friends Natalie and Theo, whose parents own Thai Super Delight; and Daniel's little sister Carousel; and the statues Maryanne Gortch bought, of Black women whose achievements are in danger of being forgotten; and of course the back history of Bowie, and Thomas, and a girl named Avelot.

The novel comes to a climax after much chaos, some honest tragedy, some triumph, and some compromise. Towards the end the slow burn ignites, and there are some truly wrenching passages. Having said that, the resolution felt just slightly flat -- perhaps I simply wanted too much. It's an honest conclusion, to be sure -- it doesn't cheat. But it doesn't quite astonish. Still -- it's a novel above love -- and love's end -- and love send -- and maybe love zen! -- and successfully so. It's also about doors, and revenge, and magic, and death, and family. It's a very good novel, not quite a great novel, but a very fine first novel.