Caudwell, Sarah: (01-03) Thus Was Adonis Murdered; The Shortest Way to Hades; The Sirens Sang of Murder (re-read)

This is as good a time as any to note that I re-read the first three of Sarah Caudwell’s novels semi-recently (Thus Was Adonis Murdered, The Shortest Way to Hades, and The Sirens Sang of Murder); I’ve been telling myself that I’ll also re-read the fourth, but I think it’s time to admit that’s not happening any time soon.

I only have a few notes to add to my initial comments. First, I wasn’t quite right when I said that same-sex relationships were unremarked; they are called “unorthodox,” but there’s no hint of a moral dimension to that characterization. Second (and spoilery; ROT-13, see sidebar), va abar bs gur obbxf qbrf n zheqrere tb gb gevny, which I find interesting considering that they were written by a lawyer (and a tax planner, considering the third). And third: no, seriously, why are they all friends with Hilary?

Anyway, still highly delicious. And next time I will re-read the fourth to see how I think it stands in relation to the rest now.

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Hitt, Jack, et al., Perfect Murder, The

So my plan to booklog daily in fifteen-minute increments stopped almost before it began, but I have a book that has to go back to the library tomorrow that I want to quote from, specifically The Perfect Murder, by Jack Hitt with Lawrence Block, Sarah Caudwell, Tony Hillerman, Peter Lovesey, and Donald E. Westlake. I heard about this book when I was enthusing over Sarah Caudwell and a friend said her contributions were terrific.

And so they are. The premise is that a rather insufferable man writes to a bunch of mystery writers asking for advice on how to commit a masterpiece of murder. (I would recommend skimming his initial letter until he starts laying out practicalities, because I nearly sprained my eyes rolling them before then. Yes, I know it’s characterization, that doesn’t mean I enjoy reading it.) Caudwell’s response begins,

My Dear Tim,

Let me say, before we go any further, that I cannot hear of your committing a murder in the United States of America. It is, quite simply, out of the question.

You aspire not merely to murder but to Art, and in any work of art the choice of background is of critical importance. . . .

I should be sorry to offend your patriotic sensibilities—but you do see, don’t you, that the United States simply will not do? In a country where the homicides of a single day are too numerous to be fully reported on the television news—where every schoolchild expects a firearm for the next Christmas or birthday present—where minor disagreements betwen motorists are commonly resolved by an exchange of bullets—in such a country any murder, however interesting or bizarre its incidental features, is doomed to be essentially commonplace.

No, Tim, if you are to achieve distinction you must cross the Atlantic.

I do so adore Sarah Caudwell.

As this might imply, the writers’ responses are, objectively, not to be taken seriously; but within the framework, they manage to convincingly suggest that their emotions and professional pride are involved. Which is a neat trick and which leads to amusements when Tim sends them all each other’s initial responses. I particularly liked Block’s summation of what he expected the other writers to send:

Westlake would enlist the aid of some bumbling criminals, and he’d have all of them try to kill your wife, and they’d all fail, until she died laughing. Lovesey would have her slain in the ring by a bare-knuckled pugilist. Hillerman would dress you up in a feather headdress and have you make a sand painting, calling down the Great Spirit to crush your wife to death in a buffalo stampede. And Caudwell would shuttle you between Lincoln’s Inn and the Isles of Greece, in the company of people named Ragweed and Catnip.

I may never be able to think of Ragwort and Cantrip by their correct names again.

Anyway, I found this entertaining bedtime fluff, and if you like any of the authors in question, it’s worth checking your local library or used bookstore for a copy.

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Novik, Naomi: (06) Tongues of Serpents

Tongues of Serpents is the most recent book in Naomi Novik’s Temeraire series. I enjoyed it, but those who aren’t delighted by the changes Novik is making to 19th-century history are likely to find it harder going.

This is the one where they go to Australia (rather like Empire of Ivory is the one where they go to Africa). The opening section is set in the British colony of New South Wales, which, as Patrick O’Brian’s Aubrey-Maturin series had led me to expect, is quite a miserable place. Then there’s an extended travel section, which goes faster the second time around, when I knew that (small spoiler, ROT13) gurl raq hc pebffvat gur ragver pbagvarag, and the denouement.

This book has two terrific reveals, some exciting action scenes, and multiple political/worldbuilding developments that had me wriggling with delight. But it also has a lot of cheerlessness and not much happening, particularly in the middle travel section. And I continue to feel that the secondary characters are underdeveloped. Previously I was thinking that an omniscient viewpoint would help, à la the Aubrey-Maturin books, but now I think that instead, it’s not the type of viewpoint but the choice of viewpoint characters: Laurence and Temeraire are just not going to notice enough to give me a rounded perspective on most of those around them.

Finally, there are three more books in the series. As a result, I don’t mind the emotional state that Laurence is left in, but other people have had different reactions.

In short: it’s a Temeraire book, with a little more of the weaknesses of the series than strengths. If you’ve been reading, that probably tells you enough of what you want to know.

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Duane, Diane: (109) A Wizard of Mars

I’m trying a new tactic on my backlog: a fifteen-minute timer. Most days I can manage fifteen minutes, after all, and even if I can’t dispose of one book in fifteen minutes, I can come back to it the next day.

The first book is one I actually just finished, Diane Duane’s A Wizard of Mars. This is the most recent book in her Young Wizards series and is, as the title suggests, the one in which all the comments about Kit and Nita doing something-or-other on Mars finally resolve into a plot.

This book is doing two things, it seems to me, and unfortunately I don’t care much about either of them. First, it’s considering Mars’ place in Western mythology through, in part, pastiches of classic stories about Mars, and that is not a topic that really grabs me. Second, it’s considering the ever-popular question of exactly what Nita and Kit’s relationship is, which is (a) not something I can bring myself to get worked up about and (b) something that’s been hanging out there since book two or so (this is book nine) and thus feels like something that is past due, already. Which is not really fair, because the series doesn’t span that much time in the characters’ lives, and it’s not the characters’ fault that I’ve been reading about them for at least a decade. Nevertheless.

Exacerbating the problem are the things this book is not doing, naming dealing with Wizards at War in any substantial way. The most obvious is the gaping plot question that Wizards left hanging, but I’m also waiting for a good payoff to Nita’s new abilities, because otherwise the entire series is going to feel massively imbalanced to me.

There are still sense-of-wonder moments and interesting characters and neat worldbuilding bits, but on the whole this wasn’t a book for me.

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Carriger, Gail: Soulless

Gail Carriger’s Soulless, a Victorian steampunk urban fantasy, received a certain amount of favorable comment among people I know, so I ordered it on impulse. This was a mistake: I did finish it out of obligation, but I was disappointed and do not expect to read the rest of the books in the trilogy.

Alexia Tarabotti is, as the title says, soulless. We are assured in chapter one that as a result,

words like I and me were just excessively theoretical for Alexia. She certainly had an identity and a heart that felt emotions and all that; she simply had no soul. . . . If she had no soul, she also had no morals, so she reckoned she had best develop some kind of alternative [by reading Greek philosophy from age six on].

Which doesn’t make very much sense to me, honestly, but the execution could be interesting, so okay. But as the book progresses it seems more that being soulless allows Alexia to be feisty and independent and conveniently modern in her outlook (which is deeply peculiar), and then it seems that soul is simply a quantitative measure of how suspectible one is to being changed into a supernatural creature. (Alexia, having none, can actually negate the supernatural abilities of anyone she touches.) Both of which seem like a waste of potential to me.

The narrative also head-hops distractingly and unnecessarily, a characteristic I associate with bad romance novels, and indeed there is a romance that is so obvious that I found it tedious rather than entertaining. Like I said: disappointing.

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Moore, Moira J.: Resenting the Hero, The Hero Strikes Back, Heroes Adrift, Heroes at Risk

Moira J. Moore’s Heroes series are light SFF novels that I would never have heard of, let alone picked up, if not for Pam’s review (some spoilers) comparing them to Doris Egan’s Ivory books. There are four of them so far: Resenting the Hero, The Hero Strikes Back, Heroes Adrift, and Heroes at Risk. The fifth is coming out at the end of July, and the series is envisioned as finite.

The thing that interests me most about these books is the worldbuilding. The characters live on a planet that was colonized through spaceships and the usual science fiction means, but are managing to survive there only through the efforts of Sources and Shields, pairs who are able to redirect the planet’s many natural disasters through inherent talents. Something is going to be revealed about the way those pairs actually work, and I want to know what it is. I have Suspicions (ROT13: gung gurl’er npghnyyl hfvat zntvp), but they seem so difficult to pull off successfully I don’t actually know if I want to be right.

The characters’ home continent is casually multiracial, and one of the main characters is of Asian descent (whitewashed on the (quite terrible) covers, of course). In the third book they go to a southern continent that felt more stereotypical to me, but I think it’s reasonable to see the overall story as undercutting the harmful stereotypes.

Basically these are light fast reads with some interesting stuff in the background. I wouldn’t suggest you run out and get them now, but I may revise that when the series is finished. (Oh, unless you have a low tolerance for first-person narrators who aren’t particularly good at reading or expressing emotion, in which case you should just skip them.)

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Heyer, Georgette: Cotillion

I’d planned to log something else tonight, but since exhaustion wars with my promise to myself, I will go with a book easily discussed, Georgette Heyer’s Cotillion. This is one of the ones people usually recommend for people new to Heyer, and I can see why, because it’s a lot of fun, the kind of book that “frothy” was invented to describe. But I also think that it might be more appreciated by those with some familiarity with the Regency romance genre, because a good deal of what it’s doing is constructing and examining conventionally unsuitable relationships. Not that unsuitable, I hasten to add—it’s pretty obvious that there is a certain threshold of class and money below which Heyer’s heroines may not sink. (Women always marry up in genre romances, unlike in fairy tales.) But still, unsuitable in some obvious ways, which is pretty cool.

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King, Laurie R.: (10) The God of the Hive

To take another mystery series that I read from the library: Laurie R. King’s The God of the Hive is the direct sequel to The Language of Bees. Alas, I cannot recommend it.

This book entirely abandons the device of the novels as Mary’s manuscripts, making instead her POV one of many, and then plays ridiculously transparent and manipulative tricks with the multiple POVs. It introduces a character that I find very troublesome when it comes to problematic stereotypes. And it seems to be an entirely different story than its prequel, and a less interesting one at that.

I’m not sure I’m going to buy either of these, now.

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Robb, J.D.: (30) Fantasy in Death

The most recent of J.D. Robb’s novels, Fantasy in Death, is much better than the last. The SF content is still silly, but a step up from “deeply ludicrous”; nothing about the plot made me want to gouge my eyeballs out, including its treatment of gamers and fandom; and though I spotted the murderer and motive quite early, it was at least fairly done. So yeah, I guess I’ll keep reading for a while more.

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Chase, Loretta: Lord of Scoundrels, “The Mad Earl’s Bride,” The Last Hellion

More backlog: three classic Loretta Chase stories, Lord of Scoundrels, “The Mad Earl’s Bride,” and The Last Hellion, which share some characters.

Lord of Scoundrels is almost entirely adorable. It is genuinely funny and charming and romantic and except for one small thing it would be perfect. It takes the “tragic childhood leads to male romantic lead becoming complete jerk” and turns it upside-down and inside-out and into a real character arc. It gives the female character desire, romance, and practicality that all work together. And the two of them are, I’m sorry but, adorable together. (This appears to be one of the classic books to give people who don’t read genre romance, and with the caveat below, that seems like a good idea to me.)

“The Mad Earl’s Bride” is a novella (in the anthologies Three Weddings and a Kiss or, just printed, Three Times a Bride) about a couple who get married because the man is dying and his family wants an heir to continue the line, and the woman wants money and social standing to establish a scientifically-run hospital. The plot is sadly obvious but it has more charming gender reversals and characters who are friends as well as lovers. I am very fond of it.

The Last Hellion took a while for me to warm too, because at first it felt too much like Lord of Scoundrels. Eventually I came to like it, perhaps because it managed to do what I would have thought impossible: make Bertie Trent (a character in all three) not only likeable but actually kind of awesome. It does also share the completely incomprehensible (and, I think, randomly bisexual, alas) villain of Scoundrels, which is the flaw in both books: the plots are in many ways not worth speaking of. But except for wishing there wasn’t that random passing reference to the villain’s bisexuality (I think), I don’t care.

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