Book Review: "The Fault in Our Stars" by John Green

I read John Green’s The Fault in Our Stars because Maura insisted that it was very good and that I would like it (she also said I’d cry, but more on that later). After months of “encouragement” from her, and after seeing previews for the movie, I finally decided, on a bit of whim, to start reading it. Much to my surprise, it was, in fact, very good, and I did, in fact like it (though I did not, in fact, cry).

          The Fault in Our Stars follows stage-four cancer patient Hazel Grace Lancaster, a sixteen-year-old girl who has been kept out of high school for several years due to her disease and lives every day with the knowledge that she may not see another birthday. She is a bright, but reclusive adolescent, who holds a GED and takes literature classes at the local community college, and who fears nothing more than hurting those she loves most when she dies. Hazel spends most of her time at home, watching reality television re-runs and re-reading her favorite book, An Imperial Affliction, written by the reclusive Peter Van Houten. She rarely leaves home, except for doctor visits, class a few mornings a week, and to go to the weekly support group meeting for adolescents with cancer that her parents force her to attend. It is at support group that Hazel meets Augustus Waters, a charismatic, seventeen-year-old, who lost his leg to a cancer that is in remission. They build a deep bond that blossoms into love. Together, they imagine a sequel to An Imperial Affliction and, along with Hazel’s mother, travel to Amsterdam to meet their favorite author. But for a stage-four cancer patient there is little prospect of a happy ending. Both Hazel and Gus know that their time together is numbered, and they fight against fate to make the most of each day and fight off the oblivion that threatens their existence.

          For a book written for young adults, this is a highly intelligent novel. It is intricately crafted, developing deep themes and metaphors, and uses foreshadowing expertly. Green has set up An Imperial Affliction, his novel within a novel, as a foil for The Fault in Our Stars. At times, Hazel and Gus would delve into deep, existential questions, and at other times they would enthusiastically discuss the quotidian with just as much metaphysical consideration. I found their conversation regarding the designation of breakfast foods as strictly breakfast foods even more enthralling than their consideration of what happens after death. Hazel and Gus’s meta-fictional conversations about what happens to the characters in An Imperial Affliction are somewhat reminiscent of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. (Stoppard’s exploration of what happens when characters in a play are not on stage offers a much deeper consideration of fiction than Hazel and Gus’s  desire to find out what happens to the characters at the end of their novel. In many ways, Hazel and Gus’s desire to find out what becomes of their fictional friends undermines the meta-fictional process itself, in that they are not seeking to understand fiction but rather are seeking more from a plot that has ended in a very deliberate and literary way. But that discussion would be more appropriate in a different setting.)

          My only criticisms of the novel are that it takes too long to move from climax to resolution and that Green overuses capitalization of non-proper nouns for emphasis. Regarding my first criticism: Green could have brought his novel to a conclusion much more quickly, without throwing in some of the extra subplot resolutions that were not, in my mind, needed. He allows the emotions that he has built up in his readers at the climax to dissipate before finally bringing the novel to a close. My other criticism is made as an editor who works with the Chicago Manual of Style. Words should not be capitalized unnecessarily or excessively. I understand that Green uses capitalization as a way of creating meaning, but he good have made been a little less liberal with his caps key, and the effect would have been greater. Only the truly important things would have stood out, and those things that really weren’t that important would not have seemed more important that they were.

          Overall, The Fault in Our Stars is a very enjoyable and “short” 340 pages. I say enjoyable in the sense that it is very easy to get caught up in the plot. At times you may not want to put the book down. I do not mean that it is enjoyable in the sense that it is happy, because this is a sad novel. I would recommend picking up a copy if you have time. I haven’t seen the movie, but I hear that it is good, too.

JCM

27 June 2014

Book Review: Ian McEwan's "Amsterdam"

I was quite impressed with my first Ian McEwan novel. Amsterdam is a well-thought-out, tight-knit story detailing the breakdown of the lifelong friendship of a leading composer, Clive Linley, and a newspaper editor, Vernon Halliday, in England. McEwan’s short novel is ultimately about morality. It explores the moral dilemma that the artist, Clive, faces as he tries to compose the “Millennium Symphony” for the British Symphony Orchestra, and juxtaposes his interpretation of the relationship between moral obligation and genius with that of the newspaper editor, Vernon, who is determined to destroy the political career of Julian Garmony—the foreign minister whose policies he finds appalling. The characters’ ruminations are palpable as readers are lead through their minds and experience their motives and decisions first hand. The novel’s irony is potent, as McEwan’s tale comes full circle and past deeds come to haunt Clive and Vernon. Most importantly, the prose is delectable, a truffle that only gets better the deeper one bites into it.

          The novel opens in the dead of winter, at the cremation for Molly Lane, former lover of both Clive and Vernon, where all of the novel’s major players have converged. Clive and Vernon bemoan Molly’s early passing, and comment on the despicableness of her jealous and controlling husband, George (a publisher), who has refused to give a memorial service, because, according to Clive and Vernon, he is so jealous that he does not want to hear her former lovers and friends give eulogies. George, they believe, finally got what he wanted when Molly fell suddenly ill and lost her mental faculties to the point that she had to leave her apartments in the Lane mansion and trust herself to her husband’s care. Julian Garmony, Molly’s most recent lover, is also in attendance, and Vernon and Clive worry that his star is rising too fast and that he may soon find himself in the prime minister’s chair; they fear for the country if he does.

          The rest of the novel plays out over the ensuing months as both George and Clive come to terms with Molly’s sudden and early death and the precariousness of their own lives as they attempt to complete their respective masterpieces: for George a newspaper edition that will effectively end Garmony’s career and that is, in itself, a work of journalistic art; and for Clive the “Millennium Symphony,” which will cement his position in history as the British Beethoven. Clive and Vernon’s paths cross many times throughout the remainder of the novel, and both make decisions that the other finds morally appalling. Their friendship is tested to the point of breaking, until, finally, the novel culminates in their meeting in Amsterdam, where Clive’s symphony will be played for the first time.

          As I mentioned at the outset, Amsterdam is a short, but intricate and rewarding novel. It is not too literary for beach reading, but it is still a great literary achievement. Its prose is beautiful and its story compelling. McEwan is certainly a great writer, and I look forward to reading him again in the future.

          Next, I will return to my history reading with The Monument’s Men.

JCM

29 May 2014

Book Review: William L. Shirer's "The Rise and Fall of the Third Reich"

After over a month at it, I finally finished reading William L. Shirer’s 1,150-page history, The Rise and Fall of the Third Reich. It was a rewarding read, giving me greater insight into a period of history that was briefly covered at the end of my history courses, or glossed over because it was assumed that we knew what we needed to know about the war. The period from Hitler’s rise to his fall is so rich with historical perspective that it really should be studied by anyone with even the remotest interest in history or politics. Even a single course would not be able to cover everything, let alone a single book, but Shirer’s book is a good place to start for anyone wishing to gain deeper insight into the period.

          Shirer was an American journalist stationed in Germany prior to and during Hitler’s rise to power. Later, he became a war correspondent. His presence in Nazi Germany gives his a book a richer context than a standard history book. He infuses his presentation of historical fact with personal accounts of his experience in Germany. He presents a rich account of the events leading up to Hitler’s eventual takeover and Nazification of Germany, using captured official Nazi documents, transcripts from the postwar trials, and journals of well-placed figures both within the Nazi party and elsewhere in Europe. As such, The Rise and Fall of the Third Reich focuses primarily on Germany and the machinations of the Nazi leaders to create the thousand-year Reich that Hitler promised to deliver to the German people. The book’s scope is massive, and even after reading its 1,150 pages, a reader must recognize that there is much that Shirer was unable to cover. It is also important to recognize that Shirer’s focus on Germany is, by necessity, absolute. He does not expound at any great length about events in America or elsewhere in Europe, when those events do not pertain to Germany. The events at Pearl Harbor are given a small section, because they are relevant only in so much as they brought Germany another enemy to contend with in a war that Hitler declared was for the life and death of the German people. By limiting his scope, Shirer is able to keep his history from getting too unfocused and out of hand.

          Despite the limits of scope, Shirer’s book is incredibly informative. I had never known how deeply Hitler disliked the idea of going to war with England, which he viewed as a cultured peer, rather than as a fervent enemy. I was also unaware of the Nazi plot to capture the former English king, Edward, while he was on a visit to Portugal. The Nazis believed that the former king could be declared as the English king again, despite having abdicated the throne (which allowed his brother, Queen Elizabeth II’s father to become King George VI), and that the English people would then rally around him as he called for an end to the war with Germany. Nor did I know that Mussolini was actually removed from power and arrested by the rest of Italy’s fascist government in 1943, and that Hitler considered Mussolini such an important ally that he ordered an airborne operation that rescued the fallen dictator, allowing Hitler to reestablish him as the leader of a rump, northern Italy.

          The Rise and Fall of the Third Reich provides a detailed account to how Hitler was able to conquer much of Europe before the other European powers (namely England and France) finally declared war. This lesson should not be forgotten and is still very relevant today, as Russia flirts with similar tactics in Ukraine. Hitler used Nazi groups in neighboring Austria to stir up trouble, before sending in his own troops under the pretext of protecting the Germanic citizens of Austria, before annexing the country. He then held a general referendum which, not surprisingly, declared that an overwhelming number of Austrians wanted to become part of Germany. How could they not declare their allegiance to Germany, when Nazi thugs ran rampant through the country, strong-arming dissenters? The Sudetenland and, eventually, the rest of Czechoslovakia was the victim of a similar power grab.

          Overall, Shirer’s book is excellent, which is perhaps why it has remained a definitive historical text for over fifty years. Despite my fears, Shirer held my attention well, allowing me to gain a deeper understanding of the rise of fascism in Germany, and the ways in which it changed German society on an economic, as well as social level. Shirer organizes his chapters well, keeping material that is geographically or thematically related together in a single chapter, while pushing other material elsewhere in his book. This does force readers to pay attention to dates, though, and recognize that Germany’s setbacks in Russia, discussed in one chapter, are occurring at the same time as the attack on Pearl Harbor a chapter later. For an attentive reader, this division works, and it allows the reader to focus on the task at hand (so to speak), to grapple with events that had greater impacts on each other, before placing them in their greater historical context.

          A book of this type is not for everyone; it certainly can’t be considered light beach reading either. If, however, you want to get a greater (if somewhat broad) understanding of Nazi Germany, then I suggest you pick up this book. You can always take break in the middle if it gets too tedious.

JCM
14 May 2014

Book Review: "The Good Lord Bird" by James McBride

          The 2013 National Book Award for Fiction recipient, The Good Lord Bird by James McBride, takes the form of a “found” narrative. The novel is narrated by Henry—also known as Henrietta and, more commonly, “The Onion”—Shackleford, who is liberated (or kidnapped, depending on who you ask) by “The Old Man,” John Brown, and his “army”—more of a small band—in Kansas territory. From his first meeting with Brown, Henry is forced to live as Henrietta, because Brown mistakes the boy for a girl, and The Old Man is not one to change his mind. Henry decides that life on the road is easier as a girl, at least when traveling with Brown, but he often wishes to escape north and resume his true identity. Over the course of the novel, Onion tries to make a clean break from John Brown and his army, often insisting—though never to Brown or any of his companions—that he had never wanted to be rescued from slavery. He frequently tells his interlocutor (the person who recorded his story) that he was much better off, food- and shelter-wise, when he was enslaved. Onion’s path always leads him back to John Brown, and he finds himself traveling the country with the abolitionist, eventually making his way to Harper’s Ferry, from which, he claims, he was the only of Brown’s companions to escape the bullet and the noose.

          McBride, through Onion, presents Brown as a tragic figure with a comedic twist. He is set in his notions, given to long-winded, convoluted prayers that can last for hours, and quotes the Bible frequently. While it is clear that Brown’s knowledge of Bible verses is vast, he seems to lack the ability to understand biblical meanings, often taking verses at face value, or interpreting them for his own purposes. Brown is also a fervent abolitionist, whose sole purpose in life is to set America’s slaves free. It is a noble cause and one to which he is willing to sacrifice his life. Unfortunately, his belief in his cause blinds him to the extent to which others will believe in it. He gives others more credit than they are worth, and expects that slaves will flock to his cause to fight for their own freedom. Ultimately it is his fervent values and the misplaced trust that he puts in others that will be his downfall, his hubris.

          The Onion is a hyperbolic narrator, and, as such, is not entirely trustworthy. The reader can trust the narrative, but must also wonder if everything that Onion tells them is true. Could it be true that everyone mistakes the young boy for a girl, or do they simply choose to live and let live, to allow Onion his disguise and not question why. Admittedly, not every character in the novel is fooled by the disguise. Other slaves, particularly women, frequently see through Onion’s disguise. The disguise’s successes and failures are important. They suggest that most whites failed to see blacks for what they truly were: pro-slavers saw them as chattel and a labor force, whereas abolitionists only saw them as a cause, an injustice that needed to be corrected. Neither group can see slaves as the people they truly are. It’s a good image, a metaphor with many layers, and one worth exploring in greater depth than I have explored it here.

          McBride is true to his narration’s character. The novel is written in the dialect in which Onion would speak it, as if it was truly his unedited memoir. It can be winding and there are evident gaps in the narrator’s knowledge. Throughout, Onion is prone to repeat himself, as if dwelling on those parts of his experience that stick out most clearly in his mind. At times, this quality can be annoying, as minor details (and also important ones) are repeated even after you have stored them in your mind as points of potential importance.

          Most of the novel is episodic; only at the end do chapters begin to snowball toward a climactic conclusion. As a result, the narrative is prone to some slow moments, but it does pick up pace near the end. McBride’s satiric voice is ever-present through the behavior of various characters, but it is never overt or overstated. McBride is able to get his points across while keeping the novel light and comedic. Overall, McBride’s book is well-deserving of its accolades. Notably, it is not too dense a book for casual reading. I recommend it to anyone interested in historical fiction, or to anyone who is just looking for a good yarn.

JCM

23 March 2014

Book Review: "The Fellowship of the Ring" by J. R. R. Tolkien

          How do you write a book review about a classic work of fiction that has stood the test of time for as long as The Fellowship of the Ring? J. R. R. Tolkien’s novel is undeniably a masterpiece. The whole trilogy and accompanying texts create a mythical vision of our world that is intriguing to first-time and returning readers.

          This is the third time that I have read the Fellowship, and the first in about six or seven years. I first read Tolkien’s works when Peter Jackson’s film trilogy brought the epic adventure to life in the early 2000s. I was in middle school then, and began reading the books after seeing The Fellowship of the Ring in theaters. I remember thinking that the first book was a bit different from the movies, and that thought has stuck with me, even as I have forgotten some of the things that made the books and films so different. I revisited the Fellowship in high school, and wrote a term paper about Tolkien’s creation of a modern day myth, but I don’t recall much from that reading other than my singular focus on developing my thesis. Then, after watching the films (extended versions of course) a few weeks ago, I decided to begin reading the books again.

          I am happy to say that, while Jackson’s interpretation of the novels is brilliant, and his movies excellently integrate digital effects with costume and make up design to create visceral and realistic representations of Tolkien’s fantasy world—setting a mark that he falls short of in his adaptations of The Hobbit—the book’s still hold the greater treasures. Tolkien, after all, is the master storyteller, and Jackson is the journeyman creating his own interpretation. Most of the best lines from the Fellowship film were taken almost directly from Tolkien’s work, though Jackson did tweak them somewhat to make them work in the confines of his film. For instance, when Frodo declares to Gandalf that he wished the ring had never come to him, that it was not his burden to bear, and that he wished that it was not his generation that had to bear the burdens of war, Gandalf replies, “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.” The scene is taken almost verbatim from the books. However, other scenes, such as when Pippin declares that he too is going to join the fellowship, saying that you need people of intelligence on quests, and Merry says “Well that rules you out,” are slightly altered. Merry and Pippin do not attend the Council of Elrond in the book, and the exchange takes place later, in Bilbo’s room in Rivendell.

          The most major differences between the books and the films involve characterization. For instance, in the films, Aragorn is a portrayed as a natural but reluctant leader, who hesitates to take the throne that is his by rights. In the books, he is poised to assume his role as king, and Frodo notes several times that Aragorn’s appearance and bearing are regal. Furthermore, Aragorn fully embraces that he is the heir of Isildur, and it is because of this that he feels more compelled to help Frodo destroy the ring. Other characters get somewhat unfortunate changes foisted upon them in films, like Gimli. In the films, it is Gimli that urges the company to take the route through the mines of Moria after they are thwarted in the mountain pass at Caradhras. In the books, however, Gimli is well aware that the dwarfs who went to reestablish the ancient dwarf kingdom in Moria are likely dead. It is Gandalf who urges the company to consider the “journey in the dark.”

          If I had to say anything negative for the book version of the Fellowship it would only be that some might not be able to appreciate it as well as others. The movie is the least action packed of the trilogy, and the book is even less action packed. The final battle scene in the film version is actually taken from the beginning of The Two Towers. Nonetheless, the book is propelled by the storytelling, the myths, the past, and the characters on their epic quest. It comes to life before you, perhaps even more so for those who have already seen the films. The book offers plenty for all readers: myth, adventure, dialog, plot, action, comedy, and the subtle lines that force (in a good way) one to meditate on the human condition and morality. It is worthy of its popularity, and I encourage you to give it a try, even if you find it slow going at first.

JCM

19 February 2014