Peters, Ellis: (13) The Rose Rent

The Rose Rent is the thirteenth of Ellis Peters’ Brother Cadfael novels, a quiet non-civil war story about a widow who’s gifted the house of her marriage to the abbey, in return for one rose a year from a bush on the property. A few days before the rent is due, a dead body is found near the hacked-at bush; and shortly thereafter, the widow herself disappears.

The motives here are a little thin, but it’s vaguely amusing to have a mystery turn around the legal issue of a revocable gift. A leisurely and harmless way to pass a lunch time, though it would make me happy if there would be a Cadfael novel that didn’t end with a romantic pairing-off, because really, how many True Loves in potentia can there be out there, just waiting for a murder and Cadfael to bring them together?

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Duane, Diane: (108) Wizards at War

Diane Duane’s Wizards at War is the eighth and most recent Young Wizards book. Wizardry itself is in peril now, with the rest of the universe to follow in quite short order; and since the less powerful—that is, older and more experienced—wizards lose wizardry first, our teenaged protagonists find themselves with a universe to save.

Since I complained about this with regard to the prior book, let me say up front that there is finally a payoff with all the stuff with Ponch, Kit’s dog. This is a good thing. We also see quite a few characters from prior books. This makes sense given the setup, and yet it still felt like it fell just on the “self-indulgent” side of the line of bringing series characters back. I had a similar reaction to the ending: almost everything fit (there’s one thing that’s still open-ended that I must, perforce, reserve judgment on [*]), and yet it felt just a little bit too happy.

[*] Somewhat annoyingly, really. I can see leaving the main part of it unresolved, but we couldn’t at least get the meaning of a single sentence in the Speech?

As far as the story itself, I begin to wonder if the moral nature of Duane’s universe isn’t limiting the types of stories that can be told in it. This was a good story, but for all that it dealt with something fundamentally new (as the characters told us), it didn’t feel very new. Overall, this was mostly absorbing while I was reading, but the little things that poked up through my narrative rush bothered me all the more once I put it down. A mid-tier book at best.

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Clarke, Susanna: (01) Jonathan Strange & Mr Norrell

I am behind on my reading, and only picked up Susanna Clarke’s Jonathan Strange & Mr Norrell last month on vacation. In the year since it’s been published, it’s been widely praised, won a bunch of awards, and sold a bunch of copies, all deservedly so. My compliments at this point are somewhat superfluous, but, well, that’s never stopped me before.

JS&MN‘s subject is nothing less than the restoration of English magic, and despite its bulk and oft-leisurely pace, I would not call it an unfocused book, as its characters and incidents are all relevant to its subject. Its narrative style also works thematically: an important part of the book is the way that language is (or isn’t) able to describe or illuminate reality, especially where magic and the numinous are concerned. An omniscient narrator is a good match to this theme, and allows the book to have a slightly historical perspective and tone, which I also find suits it well. Plus, then you can have those infamous footnotes, which are sometimes amusing (see below, because it’s quite long), sometimes impressive (Clarke has created an entire mythology that sounds entirely authentic but which, apparently, is original), and sometimes even an indirect method of conveying story information.

I found the language and the world a most agreeable place to be immersed in, and the characters interesting company to keep. JS&MN strikes me as, well, a kind story, for lack of any better term. There are bleak moments, but it’s not a bleak book; and a couple of characters had sympathetic moments well past the time I would have thought that possible. This is not to say that it’s cloying or spoon-fed or formulaic; magic is genuinely magical and mysterious, conclusions are in-character and unforced, and ends are left loose where appropriate.

I very much enjoyed this book, and stayed up much too late on the last night of my vacation to finish it. I also have the unabridged audiobook, which has been receiving good reviews, with the caveat that the lengthy footnotes make it unsuited to be the first way one experiences the story. I look forward to immersing myself back in the book at some point the future.

A note on short stories: Clarke has a story in each of the three Starlight anthologies. The first, “The Ladies of Grace Adieu,” is explicitly in this world, as it features Jonathan Strange; it’s the story referenced in chapter 43, footnote 2. I think it gives rather an unfavorable view of Strange, so if one reads it first, keep in mind that it’s not the entire picture. The second, “Mrs Mabb,” might or might not be in the same world; I saw nothing explicit either way. The third, “Tom Brightwind, or How the Fairy Bridge was Built at Thoresby,” is almost certainly not in the same world to my reading, though it has much the same flavor.

And in conclusion, a long quote that amused me, to give a flavor of the prose and humor.

In the early summer of 1813 Strange again performed a sort of magic the like of which had not been done since the days of the Raven King: he moved a river. It happened like this. The war that summer was going well and everything Lord Wellington did was crowned with success. However it so happened that one particular morning in June the French found themselves in a more advantageous position than had been the case for some time. His lordship and the other generals immediately gathered together to discuss what could be done to correct this highly undesirable situation. Strange was summoned to join them in Lord Wellington’s tent. He found them gathered round a table upon which was spread a large map.

His lordship was in really excellent spirits that summer and he greeted Strange almost affectionately. “Ah, Merlin! There you are! Here is our problem! We are on this side of the river and the French are on the other side, and it would suit me much better if the positions were reversed.”

 . . .

 . . . Strange went back to Lord Wellington and said it would take too long for every man in the army to sprout wings, but it would take no time at all to move the river and would that do? “At the moment,” said Strange, “the river flows south here and then twists northward here. If upon the other hand it flowed north instead of south and twisted southwards here, then, you see, we would be on the north bank and the French on the south.”

“Oh!” said his lordship. “Very well.”

The new position of the river so baffled the French that several French companies, when ordered to march north, went in entirely the wrong direction, so convinced were they that the direction away from the river must be north. These particular companies were never seen again and so it was widely supposed that they had been killed by Spanish guerrilleros.

 . . .

Meanwhile the Spanish Regency Council in Cadiz became rather alarmed at this development and began to wonder whether, when they finally regained their country from the French, they would recognize it. They complained to the Foreign Secretary (which many people thought ungrateful). The Foreign Secretary persuaded Strange to write the Regency Council a letter promising that after the war he would replace the river in its original position and also ” . . . any thing else which Lord Wellington requires to be moved during the prosecution of the war.” Among the many things which Strange moved were: a wood of olive trees and pines in Navarra;6 the city of Pamplona;7 and two churches in the town of St Jean de Luz in France.8


6 Colonel Vickery had reconnoitred the wood and discovered it to be full of French soldiers waiting to shoot at the British Army. His officers were just discussing what to do about it when Lord Wellington rode up. “We could go round it, I suppose,” said Wellington, “but that will take some time and I am in a hurry. Where is the magician?”

Someone went and fetched Strange.

“Mr Strange!” said Lord Wellington. “I can scarcely belive that it will be much trouble to you to move these trees! A great deal less, I am sure, than to make four thousand men walk seven miles out of their way. Move the wood, if you please.”

So Strange did as he was asked and moved the wood to the opposite side of the valley. The French soldiers were left cowering on a barren hillside and very quickly surrendered to the British.

7 Owing to a mistake in Wellington’s maps of Spain the city of Pamplona was not exactly where the British had supposed it to be. Wellington was deeply disappointed when, after the Army had marched twenty miles in one day, they did not reach Pamplona which was discvered to be ten miles further north. After swift discussion of the problem it was found to be more convenient to have Mr Strange move the city, rather than change all the maps.

8 The churches in St Jean de Luz were something of an embarrassment. There was no reason whatsoever to move them. The fact of the matter was that one Sunday morning Strange was drinking brandy for breakfast at a hotel in St Jean de Luz with three Captains and two lieutenants of the 16th Light Dragoons. He was explaining to these gentlemen the theory behind the magical transportation of various objects. It was an entirely futile undertaking: they would not have understood him very well had they been sober and neither they nor Strange had been entirely sober for two days. By way of an illustration Strange swapped the positions of the two churches with the congregations still inside them. He fully intended to change them round again before the people came out, but shortly afterwards he was called away to a game of billiards and never thought of it again. Indeed despite Strange’s many assurances he never found the time or inclination to replace river, wood, city, or indeed any thing at all in its original position.

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Powers, Tim: Last Call

The weekend before vacation, I was very cranky and wanted to read something that I knew wouldn’t annoy me. Since Tim Powers’ Last Call is one of my favorite books and part of my fantasy conversion kit, but I hadn’t read it for ages, it seemed like a useful as well as a reliable choice.

This is such a good book. It has great characters; rich, detailed, textured worldbuilding; and a plot that spins out of both of these in a logical, fitting, and yet surprising fashion. More, I think it was a good choice for the conversion kit, since it sets out its central problem pretty early. By the end of the Prologue, we know that Georges Leon is the mythic King of the American West and was conducting a ritual to take over the body of his younger son (there are fantasy novels that would make you wait for the purpose of that ritual until two-thirds of the way through). The ritual failed, and he now expects his son to become his rival. By the end of Part I we know the core of the plot, the peril our protagonist (his son) is in. I think in that sense, it’s a good choice for people new to the genre: though the subject matter may be unfamiliar, the direction of the plot is clear.

A good deal of the subject matter might be familiar, as well, since the one-line description of Last Call is “a secret history of the Fisher King in Las Vegas with Poker.” When the book came out in 1992, the Fisher King part of that description was likely the most familiar mythological reference, but the recent popularity of poker might be giving it some competition. There’s almost certainly some aspect of the book that will resonate, with references to everything from T.S. Eliot, chaos theory, and Vietnamese myth—but never in a cryptic or unexplained way. It’s the kind of story where everything—the direction a car turns, the way the moon looks, and particularly the fall of the cards—is significant, and I really enjoy the texture this gives the book.

Last Call is an absorbing, complex and entertaining book whose strong ideas are more than matched by its strong characters. I’m very glad to re-read it and find it’s still one of my favorites.

[Expiration Date is Tim Powers doing ghosts, telephones, and Thomas Edison; Earthquake Weather brings together characters from both Expiration Date and Last Call, plus completely new characters. Unfortunately I don’t love either of them, but they’re there if you want them.]

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Paretsky, Sara: Killing Orders (radio play)

One more BBC play for now, Sara Paretsky’s Killing Orders. I downloaded this largely because Kathleen Turner was portraying V.I. Warshawski, and there are much worse ways to kill a half-hour drive than listening to Kathleen Turner. (Also, it was a nice change to listen to actual American voices; both Whose Body? and Death on the Nile had British actors with bad American accents.)

The adaptation and the story aren’t quite up to their star. The adaptation leaves out some important details—such as, oh, precisely what happens to the main bad guy. I also found the narration, which was more like an internal monologue than a voiceover, to be occasionally distracting. Does the text have so very many descriptions of her clothes, and even if it does, do we have to faithfully preserve every single one of them? (It also includes conversations with her dead mother, and it’s not clear whether they’re supposed to be actual or imaginary.)

The story itself was written in 1985 and is the third V.I. Warshawski novel. It starts with V.I.’s detested aunt calling her for help, having been accused of forging stock certificates. This turns out to be part of a fairly complicated conspiracy involving both the Mafia and the Catholic Church, which I found slightly over-the-top. (V.I. and the people around her also take some serious damage during the book; I don’t know if that’s typical of the series.) It’s telling that I haven’t bothered to see if the library or a local bookstore has a copy of the text that I could browse to learn the details that the adaptation left out.

Not a terrible way to pass the commute, but I won’t be seeking out further V.I. Warshawski adaptations.

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Christie, Agatha: Death on the Nile (radio play)

Another BBC radio play, this time directly recorded from BBC 7’s Listen Again page a few weeks ago, was Agatha Christie’s Death on the Nile. This was a bit of a gamble in terms of my time: I read boatloads of Christie novels when I was younger, and remember very few of them, so I wasn’t sure how well they would hold up. I also didn’t know if Poirot’s accent would be confusing or grating. Here, John Moffatt gives a clear and sympathetic performance as Poirot; the many other characters are generally distinguishable, though the adaptation could have done a slightly better job of putting the characters’ name early in the dialogue.

Death on the Nile is the one where a rich woman on her honeymoon is killed during a boat tour of the Nile. There were, of course, quite a few people on the boat with reasons to kill her, as the audience well knows by the time the murder happens, about halfway through. (It seems most of the murder mysteries I read start after the murder, so it was interesting to spend quite a lot of time with the victim and suspects ahead of time.) I was thoroughly faked out by the mystery, though I don’t know if this is a testament to Christie’s cleverness or to my general ineptitude. Overall, I enjoyed this a good deal more than I expected, and it gave me a number of other BBC plays to look forward to.

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Sayers, Dorothy L.: (01) Whose Body? (radio play)

I’d been contemplating the Ian Carmichael readings of Dorothy L. Sayers’ novels for a while, so I was pleased to acquire a copy of the BBC radio play of Whose Body? with Carmichael in the lead. This worked very well indeed; Carmichael sounds like Lord Peter to me, and the other voices were also suitable. I’d re-read this pretty recently, and it seems a faithful adaptation. I won’t necessarily log more of these, but it seemed worth recording that I’d heard it, especially for those considering the unabridged versions on Audible.com.

(I was interested to find that Lord Peter is notably less sympathetic in audio format, though not enough so to make listening unpleasant.)

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Tolkien, J.R.R.: Hobbit, The (audio)

I had been contemplating listening to The Lord of the Rings as an audiobook, as a way of forcing myself to pay attention to each word of a text that I must have read dozens of times. I tried The Hobbit first, because it’s narrated by the same person, Rob Inglis.

I won’t be listening to Lord of the Rings, either read by Inglis or at all. With regard to the Inglis versions, I just wouldn’t be able to take the songs. It may be that my brain is corrupted by pop music, but the songs just sound all wrong—both the tunes the music is put to, and the way Inglis sings them. The idea of sitting through all of “Earendil was a mariner,” which as I recall goes on for pages, very nearly gives me hives. But in general, the movies have given me specific ideas about how the characters sound, and hearing a different voice for Gandalf in The Hobbit was subtly jarring enough that I wouldn’t look forward to hearing a whole trilogy’s worth of different voices. I also have some pretty specific ideas about the phrasing of various lines, from having read the thing so often. I might have to exercise some discipline to really pay attention to the familiar text, but I think it’s probably best to have it be just me and the text and no other voices.

As for The Hobbit itself, I haven’t read it for quite a while, so it was interesting to note that it’s actually fairly grim all the way through, even though I had the impression it’s considered a relatively light book. I’d also forgotten the extent to which it’s a cautionary tale against greed; and the extent to which the plot depends on fortuitous (or, perhaps, divine) circumstances. On a lighter note, Beorn was doing some major genetic modifications on those dogs of his to get them able to walk upright and carry things on their front paws—did Tolkien have a dog and realize just how ungainly they are on their hind legs?

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Lindskold, Jane: Through Wolf’s Eyes

Through Wolf’s Eyes is the first book in Jane Lindskold’s Firekeeper Saga and the book I started while delayed in the airport on the last leg of our journey back from our March cruise. It is almost certainly not fair to any book to start reading under those circumstances, but it sucked me in regardless.

Well, okay, it half did. Through Wolf’s Eyes tells the story of Firekeeper, a fifteen-year-old girl raised by wolves, who might just be the only surviving direct-line descendant of a king. After Firekeeper is found and taught human ways again, she is brought to court, and the political manuvering begins. Partway through, the novel adds a political schemer’s point-of-view, and I admit I skimmed these sections very quickly—yeah, political scheming, moustache-twirling, yeah yeah, get me back to the girl who thinks like a wolf. Again, I was not reading it under good circumstances, and it seems entirely likely that the thread would be more interesting if I had more energy to go around. As for the rest, the wolves and other animals aren’t twee, the people that Firekeeper befriends are interestingly varied, and Firekeeper herself is quite engaging, enough so that the second book is fairly high on my to be read pile.

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Dayton, Gail: Compass Rose, The

I still have two cruise books to catch up on (yes, the March cruise), the books I read during the long, long day of travel home. One is Gail Dayton’s The Compass Rose, the other Luna book I brought with me. Unlike Staying Dead, I’d heard no buzz about it, simply opened it at random in the bookstore. At the time, I was still under the impression that Luna was a paranormal romance line, so I was quite surprised to find a group marriage ceremony on my randomly-selected page. Curious, I flipped around some more and decided to give it a try.

Despite, or perhaps because of, the polyamory, it’s actually much more towards the romance novel end of the spectrum than Staying Dead, in that far more of the time is spent dealing with the personal relationships of the characters. The setup requires it: our main character calls upon a god for aid, and finds herself linked to a number of other people whose magic she can channel. They all have to learn how these new magical abilities work, because there is an epic fantasy need for them. And since the main character lives in a polyamorous society, they get married along the way.

The bulk of the book covers the getting-to-know-you stages of these developments, and so I suspect that many fantasy-only readers will find the pacing frustrating. I found it engaging enough airplane reading, and will probably pick up the sequel that is so blatantly promised by the ending.

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