CR Book 27: Rampant by Diana Peterfreund

My final entry in this year's CR (it ends in November, right?) was crap. Utter crap.

So... I was drawn to this book after I heard the basic premise. Two words: "Killer unicorns."

Sounds awesome, right?

Astrid Llewelyn is a sixteen year old girl who dreams of becoming a doctor. She's a typical teen girl, caustically sarcastic, constantly fending off her boyfriend's advances and fighting with her mother. She and her mother Lilith don't see eye to eye on most things, the biggest of which is her mom's firm belief in the existence of unicorns. But these aren't your typical, fluffy, friendly unicorns, the kind you might see Robocop riding. No, these are the venomous, snarling, bloodthirsty beasts Robocop probably wishes he could ride. And according to Lilith, Astrid is descended from an Order of unicorn hunters known as the Order of the Lioness, which extends back to Alexander the Great's descendants. Astrid, naturally, believes her mother is loopy and that unicorns are mythical.

Then, one night, as Astrid is trying to keep her boyfriend out of her pants, they're attacked by a wild unicorn. Astrid calls her mother in a panic after the boy is mortally wounded, and Lilith arrives with something called "the Remedy," which is somehow extracted from unicorns and has magically healing abilities. Not long after the attack, Lilith informs Astrid that the unicorns are reemerging, and the Order must stand once more to fight... which means Astrid will be moving to Rome post-haste to live in a Cloister and train to be a hunter.

Yup, a Cloister. Because only virgin girls can fight unicorns. They are drawn to the girls because the girls possess a "potentia illicere," which the author never bothered to explain and my Google-fu tells me that it roughly translates to "alluring power." So, magic. Or whatever. Unicorns like 'em pure, apparently.

So Astrid goes to Rome, meets the other virgins who have been sent to the Cloister, and tries to amp herself up to devote herself to fighting unicorns. It's not as easy as it sounds, though, as unicorns possess super healing abilities - you basically have to cut off their heads or cut out their hearts to get them to die. And Astrid feels like her mother has forced her into this life, which she basically has, and tries to find a way out. The most obvious way? Lose her virginity. Enter Giovanni, an American going to school in Rome. Will Astrid give in to temptation? Or will she stay true to her calling and protect the world from the scary horsies?

Should you even care? Not really.

My first gut reaction to reading this book was, Look, another lame attempt to cash in on the supernatural craze kicked off by Twilight! Seriously. I think when Stephanie Meyer finished her last novel, she created this vortex of Suck that could only be filled by more Suck, and that's how this book ended up getting published. This one WAS published in 2009, but who knows, maybe it was kicking around before Twilight hit the presses.

Look, I'll be honest. I really wanted this book to be one of those so-bad-it's-good novels. But it's not. It's just BAD. Astrid is insufferable (rather like whiny Bella); she bitches and moans about everything. The unicorn stuff needed to be totally balls-out crazy, and the creatures needed to be terrifyingly scary, but the author kept undercutting their fearsomeness, like by giving the girls a pet unicorn named Bonegrinder who sounded rather adorable. The book kept forgetting its own rules and tripping up over details. For instance, regular people (aka not hunters) can't see unicorns because they're unable to see magical things. But then Giovanni is able to see them and it's never really addressed why he can or why the Don of the Cloister can as well. And then there's a whole subplot about the Remedy that goes nowhere until it's conveniently mentioned again at the end of the book, perhaps setting up a sequel (oh let's hope not).

I don't think this one is going to catch on like Twilight did. I just don't think the world wants scary unicorns. And I can't blame them. Now if you'll excuse me, I have a book to donate to Goodwill.

CR Book 26: House of Leaves by Mark. Z. Danielewski

Well, I've achieved my goal of a half Cannonball Read. Not that I'm going to stop reading, but at least I've reached that point.

"House of Leaves" is a sprawling, audacious story within a story within a story... I think I hit all the levels there... that describes a documentary called The Navison Record. Will and Karen Navison have moved their small family into a house in the Virginia countryside and make an odd discovery: the house is larger on the inside than on the outside. Curious about this physical impossibility, Will (referred to as Navison or Navy by friends) brings in friends and family to help him determine how this could be. But the house is not finished playing with its inhabitants; doorways begin to appear in walls where nothing stood before, and soon a full hallway appears in their living room. Navison, a photojournalist who has never been afraid to explore and to capture his findings in film, decides to travel the hallway with the help of some well-know explorers and lots and lots of video cameras.

That's just the first story. On top of that, we have the work of Zampano, a blind man who has spent what would appear to be years compiling notes and references about The Navison Record. And on top of that, we have the footnotes (that tell the life story) of Johnny Truant, a loquacious ne'er-do-well who spends his days working in a tattoo parlor, dreaming of a stripper named Thumper, and his nights getting drunk with his friend, Lude, and charming drunk women with his ability to spin a good yarn. One night, Lude brings Johnny over to check out the deceased Zampano's (Lude's neighbor) apartment, and Johnny finds a trunk full of Zampano's work and decides to take it home.

Johnny's curiosity about the man's work quickly becomes an obsession, and as he tries to finish what Zampano started, his life begins to collapse around him. The shifts in his mental state appear to mirror the changes occurring in the Navison Record. One of the most impressive things about the novel is the way Danielewski plays with structure in order to give you the impression that the book itself is changing, just like the house. As Johnny's life begins to disintegrate, the footnotes become more chaotic; as Navy's explorations of the hallway begin to resemble that of someone wandering a labyrinth, so too do the words on the pages begin to change, moving backwards, upside-down, and so on. As you read, you feel just as lost and confused as Navy and Johnny (and I would assume Zampano, but I didn't get as strong a sense of him as I did the others).

The book is filled with Appendices and Exhibits that are full of poems, images, and extra bits meant to help support (or, in some cases, contradict) the work Zampano did on the Navison Record. But the most interesting addition would be the section titled "The Three Attic Whalestoe Institute Letters," a series of letters from Johnny's mother that not only shed some light on his life, but IMO throw the whole veracity of everything into serious question. After all, Johnny tells us over and over in his footnotes that he's a fantastic storyteller; and he himself states that he's never found any record of The Navison Record even existing (as he states in the introduction); who's to say he didn't just make it all up?

If you go to houseofleaves.com, you'll find a whole message board devoted to puzzling out the truth behind this mazelike novel. I personally will be rereading this novel... not soon, but I know that I will be revisiting it. I might try to read it a different way next time - ignoring Johnny's footnotes altogether, then go back and read those alone. There's a lot to think about with this one; but no guaranteed answers. Maybe it's because I'm getting older, but I'm ok with not having clear answers. It's the journey, the experience of reading it, that's important with this book.

I've heard this called a horror novel, and that seems a bit misleading, but I can understand how it got that label. I myself actually got spooked enough that I had a nightmare and spent a sleepless night warding off bad dreams. Johnny talks of something lurking in the darkness, and, well, Danielewski creates a very realistic sense of dread that was enough to make me stop reading the book at night. But if you're looking for outright gore and scares, you won't find them here. This book is more about the empty spaces, the darkness in our lives, and what that means.

Book 25: Mockingjay by Suzanne Collins

*Mild SPOILERS for those who've not read the series*

Mockingjay is the third and final book in the Hunger Games series. The series tells the story of Katniss Everdeen of District 12 who is chosen to fight for her life in the annual Hunger Games in book 1, and again in the Quarter Quell in Book 2. At the end of the second book, Katniss is whisked away by the rebels who quickly tell her that a) District 13 exists and is fighting the Capitol and b) the Capitol has Peeta, her fellow tribute from District 12 and one of two men she cares deeply about... maybe even loves.

Book 3 begins with Katniss recovering from the Quell and trying to absorb all the info being thrown at her by the rebels. She and her family, and her friend Gale, the other important man in her life, are residing in the underground District 13. Katniss is asked by the rebels to become their Mockingjay: the face of the resistance, meant to rally support for the fight against the Capitol. But Katniss is unsure that she wants such an important role. One thing she is certain of is that Peeta is being kept and tortured by President Snow, the leader of Panem, and that she herself wants to kill Snow for what he's done to Peeta and to her through the Games. So she makes a deal with President Coin, leader of District 13 and the rebels: she'll be their Mockingjay in exchange for being the one to assassinate Snow. But before she can get to the President's Mansion in the Capitol, she'll have to help to bring all the Districts under rebel control and then bring the Capitol down.

Short summary, I know, but I don't want to spoil too much. I will say that, just as in the final book of the Potter series, the death count piles up right from the beginning. And the torture used on Peeta is pretty horrifying. Those expecting a big final showdown between Gale and Peeta over Katniss's affections will be disappointed, but I thought that things ended as they should. (But I could be called a fangirl, so I'm biased.)

One of the ways the rebels try to rally support is through their use of propaganda films they call "propos." They have a camera crew, complete with makeup artists and a director, who follow Katniss around the districts as she interacts with the wounded or fight the Capitol's helicopters. It reminded me a lot of that movie Wag the Dog, where a US president commissions a director to stage a war in order to divert attention from some wrongdoing he did. In Mockingjay, the war is very real, but the staging sometimes isn't, and it's interesting to see Katniss just accept that instead of protesting. She understands that the people of Panem are always "tuned in," as it is; the Hunger Games are mandatory broadcasts, after all. And what is the war against the Capitol but one big Game itself?

Out of the three books, I'd say this one was the weakest, but the first two set the bar pretty high. Overall, I really enjoyed this book. I devoured it in two days, only stopping because I had to for work and socializing (damn social life!), and now I want to go back and reread the series to see how it all falls together. I definitely recommend it to anyone who might be turned off because it's a YA novel.

Book 24: Cloud Atlas by David Mitchell

SPOILERS here for those who haven't read the book. I'd recommend skipping out after the second paragraph if you want to enjoy the book untainted.

Cloud Atlas is a novel that plays with the ideas of structure and narrative. It is six stories set in different time periods ranging from the 1800s to a postapocalyptic future. Each story begins and is interrupted halfway through by the next story until you reach the penultimate story which is told unbroken. After the finish of the last story, the others resume each after the completion of the previous story. It's rather like climbing a mountain - with each story, you progress higher until you reach the final story; then, as you come down the mountain, you pick up the end of each tale in reverse order that you started them.

The novel begins with the journal of Adam Ewing, an American notary who has sailed to the South Pacific for work and on his trip home finds himself the unlikely savior of a stowaway "savage" Maori. His journal is cutoff mid-sentence by the next story, which is a collection of letters sent from Robert Frobisher, a roguish musician in the 1930's who travels Europe and seduces a prominent composer into taking him on as an amanuensis [yeah, I had to look that up. It's basically a secretarial slave]. From Frobisher's journeys we then travel to California in the 1970s, where Luisa Rey, a journalist at a sleazy gossip rag has stumbled onto a conspiracy at a nuclear power plant. After Rey's story comes the "Ghastly Ordeal of Timothy Cavendish," which tells of how Cavendish, a publisher in London, ends up trapped against his will in a retirement home. The next story, my personal favorite, is an interview with Sonmi-451, a clone from the future corpocracy of Nea So Corpos, in the former region of Korea. From Sonmi's intriguing recollections we then move even further into the future, to what is left of Hawaii, as a "freakbirthed" Valleysman watches the last of humanity fight for survival. Each story represents a different style or genre of writing (for example, Rey's tale is a crime thriller), and Mitchell does a fine job of writing each style.

One of the interesting things about the structure of the novel is that each story (with the exception of the last) is being read or watched by the next. Frobisher finds Ewing's journal and comments on it in his letters; Rey reads Frobisher's letters; Cavendish is sent Rey's story as a manuscript; Sonmi-451 watches a movie version of Cavendish's ordeal; and Zachry (the Valleysman) views Sonmi's interview through a futuristic device that projects a hologram.

There is another way the author connects his stories. He mentions a comet-shaped birthmark that is shared by main protagonists of the story (save for the last - it's not the narrator but another character who bears the mark). The obvious interpretation of the mark here is reincarnation - that it's the same soul traveling through the ages. And just like how there's a sense of progression as you head deeper into the novel (or up the mountain, as I think of it), there's a progression of the soul from one lifetime to another - it evolves. It starts out as Ewing, a very proper man who sees how horribly humans treat one another (races enslaving others, for example) and chooses not to act; to Frobisher, who is driven by his own selfish impulses but strives to create something lasting through his music; to Rey, who sees an impending catastrophe and fights to prevent it; to Cavendish, who fights for his freedom; to Sonmi, who fights for the freedom of others, namely, her fellow clone slaves; and finally, to the character of Meronym, who fights with Zachry to prevent the loss of all humanity has achieved in the face of its most primal, base nature. The soul evolves from idle witness to proactive fighter - in every time period, the same problems are presented (the struggle for power and/or dominance between men, between races, between countries) and as the stories advance, the soul reaches its apex in the unbroken sixth story, and the ramifications are felt as the other stories come to their conclusions.

The more I reflect on the book, the more I find threads between the stories. And I wish that Mitchell would turn the chapter on Sonmi into a full novel; that story in particular is a very well fleshed out world that I would love to explore. The novel has been optioned by the Wachowski brothers (of Matrix fame), and it's interesting to ponder how they would take such a sprawling vision and turn it into a movie. But personally, I'd rather not see it get the Hollywood chop treatment.

Book 23: A Heartbreaking Work of Staggering Genius by Dave Eggers

I'm sure you've all heard of this book by now if you're a Pajiban. It's been mentioned many times on the site. It's got one hell of a title, and it lives up to it.

AHWOSG (yeah, I'm not typing the whole thing repeatedly) is Dave Eggers sprawling memoir that details his young adult life. While he is in college, both of his parents die within 6 months of each other, leaving him and his older brother Bill and older sister Beth to take care of their younger-by-10-years brother, Christopher (Topher for short). Dave ends up chosen as Topher's caretaker, so they move to CA and he attempts to balance his new found role as "parent" (of sorts) with starting a magazine (Might Magazine) with his friends.

That's a basic, nutshell description of the book. But Eggers is not one for simple, linear storytelling. His writing is full of starts and stops, of disconnected and yet overarching ideas about his life, what it means to be family, what it means to DO something with your life, what his parents' deaths meant for him and his family, and so on and so forth. The foreward, intro, Rules & Suggestions, whatever you want to call it, itself is about 30 pages long. Eggers also uses different framing devices such as an interview to tell his story.

The phrase "voice of a generation" has been bandied about in reference to Eggers, and it's not hard to see why. First of all, he talks of a vision of people forming a "lattice" of support, all connected, as "one body," and says things like, "I am bursting with the hopes of a generation, their hopes surge through me, threaten to burst my heartened heart!" and "[Oh], let me be the strong-beating heart that brings blood to everyone!" These grandiose statements about being one with others and wanting to support them, to show them that they are connected, and to show that all their pain and loss was not for naught but for a purpose... well, it's easy to relate to such thoughts. And secondly, Eggers stream of consciousness style of writing sounds like the voice in my own head. He interrupts himself repeatedly, sometimes in mid-thought, sometimes in mid-sentence, and is so sarcastic, bombastic, and honest, I identify with him. I may not have gone through the tragedy he's experienced, but I can empathize with his feelings of fear, of excitement, and of wanting to turn his life into something worthwhile.

Book 22: The Truth About Celia by Kevin Brockmeier

I am a huge fan of Brockmeier. I read his novel "A Brief History of the Dead" a few years ago, and have been hooked ever since. He's a gifted writer who draws you in with his vivid descriptions and makes you truly care about his characters. His books are the type that you find difficult to put down - you want to stay in his worlds and find out what happens next.

"The Truth About Celia" is one of the most beautiful and sorrowful novels I've ever read. It's also a book within a book - it's a collection of short stories written by a fictional author named Christopher Brooks. Christopher is a successful science fiction author who lives with his wife Janet and 7-year-old daughter Celia. One day, while he is giving a tour of their historical home, Celia, who was playing in their backyard, simply vanishes. Poof. Gone without a sound or trace.

The novel is Christopher's first work since Celia's disappearance. In the 7 years after, he has written several short stories that all revolve around that tragedy. One story recounts the events of that fateful day over and over, as if by doing so Christopher could find a new piece to the puzzle that explains what happened. Another story starts with one character and moves through the town, bouncing from person to person, showing how they have all been affected by Celia's disappearance, and ending in a ceremony being held by the townspeople to honor her memory. There are several pieces of fiction that try to give Celia a happy ending - in one, she has fallen into a different world; in another, she's grown up and is raising a son who wants to become a magician.

The novel is Christopher's way of coping with their loss. It's a horrible tragedy - I can't think of anything worse than simply losing someone. Even when you lose a loved one to death, there is a sense of finality - they've passed on and are at rest. With Celia, Christopher and Janet have no idea if she's dead or alive, if she's being tortured somewhere, if she's scared and missing her family. Christopher in particular has been unable to move on since that day, and has spent his time writing not only about that day but trying to give Celia's story an ending, in order to give himself one as well.

Like I said, the book is absolutely heartbreaking. But it is also one of the most beautifully written novels I've ever had the pleasure of reading, and so I wholly recommend it.

Book 21: Stardust by Neil Gaiman

"Stardust" is the first Gaiman book that I've read, and I enjoyed it. It's a short book, a trifle of a story about a boy searching for his destiny and finding love along the way.

Tristan Thorn is in love, and willing to do anything for the girl. When a star is spotted falling to Earth, he is tasked with the quest of finding the fallen star and bringing it back to his beloved in exchange for her love. With the help of his father, Tristan sets out into the land of Faerie in search of the star. What he does not know is, the star has plans of her own.

It's your typical fairytale journey, with various creatures that Tristan meets along the way, and it's infused with wit and humor. I've yet to see the movie version, but if it stays faithful to the story, then I'm sure I won't be disappointed.