September Reading Thread

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I'm getting impatient with Connie Willis and her editor. Earlier this month I read Lincoln's Dreams and was impressed. This was a real novel.

But now I'm reading Blackout and it's pages and pages of dialog. Good dialog may be hard to write but dialog is easy to write, especially since word processors came along. My guess is Willis wrote the earlier novel by hand or on a typewriter but spun this one out on a computer. Pages and pages of talk. Quick, encourage me if the novel tightens up a bit. I'm already starting to think about returning it to the library and I'm only up to page 39.
 
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...bottom of page 44. A rough calculation -- to read this and the completion (All Clear) might take me 25 hours. Life’s too short. I’m bailing out of this book. What a shame -- there's probably a good novel in their buried under all that unnecessary typing.
 
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...bottom of page 44. A rough calculation -- to read this and the completion (All Clear) might take me 25 hours. Life’s too short. I’m bailing out of this book. What a shame -- there's probably a good novel in their buried under all that unnecessary typing.
That's the same reason that I stopped reading the Honor Harrington books, they got too much dialogue that didn't move the story along
 
I'm getting impatient with Connie Willis and her editor. Earlier this month I read Lincoln's Dreams and was impressed. This was a real novel.

But now I'm reading Blackout and it's pages and pages of dialog. Good dialog may be hard to write but dialog is easy to write, especially since word processors came along. My guess is Willis wrote the earlier novel by hand or on a typewriter but spun this one out on a computer. Pages and pages of talk. Quick, encourage me if the novel tightens up a bit. I'm already starting to think about returning it to the library and I'm only up to page 39.
That's the same reason that I stopped reading the Honor Harrington books, they got too much dialogue that didn't move the story along
Some authors seem to think that by telling the story through endless dialogue it is somehow showing not telling. I beg to differ. I think one of the laziest ways of dodging having to write an action scene is to, instead, relate it in a conversation. All of Weber later works do this massively, both HH and Safehold.

I read Connie Willis' Doomsday Book which was okay but not good enough to make we want to read more.
 
Finished The Silmarillion, which I still find to be utterly fascinating and the most compelling of Tolkien's Middle-Earth books. I'd forgotten how much of a downer it is though. To complete my tour de Tolkien, I'm starting Lord of the Rings now on the kindle, though I've been reading the Prologue about hobbits for 4 days and can't finish it. How does Tolkien get a free pass for this excruciatingly dull info-dump?

I'm also reading Nothing to See Here, by Kevin Wilson, a novel my wife just finished and wants to discuss with me. Interesting premise so far, but you can read the creative fiction workshops all over this one.
 
I'd forgotten how much of a downer it is though.

Yeah, I spotted a thread about sad stories the other day, and The Silmarillion is what sprang to mind.

though I've been reading the Prologue about hobbits for 4 days and can't finish it. How does Tolkien get a free pass for this excruciatingly dull info-dump?

It's a prologue -- you're allowed to skip it. Some people do so on principle.
 
Some authors seem to think that by telling the story through endless dialogue it is somehow showing not telling. I beg to differ. I think one of the laziest ways of dodging having to write an action scene is to, instead, relate it in a conversation. All of Weber later works do this massively, both HH and Safehold.

I read Connie Willis' Doomsday Book which was okay but not good enough to make we want to read more.
I was impressed with Domesday Book. I enjoyed To Say Nothing of the Dog, which is very funny, even more. Having said that, I can understand why Willis is a bit Marmite. Haven’t looked at Blackout: I think I was put off by the reviews.
 
Finished Mexican Gothic by Silvia Moreno-Garcia. Maybe the best novel I've read all year. Definitely Gothic, but also a little Gothic Romance, with more than a little fairy tale -- and Weird Tales -- mixed in. I think I could mount a decent argument there's an element of portal fantasy, too. All in all, a good book.

Randy M.
 
Finished Mexican Gothic by Silvia Moreno-Garcia. Maybe the best novel I've read all year. Definitely Gothic, but also a little Gothic Romance, with more than a little fairy tale -- and Weird Tales -- mixed in. I think I could mount a decent argument there's an element of portal fantasy, too. All in all, a good book.

Randy M.
Hmmm, sounds like another entry for my endless list of oddball items to be on the lookout for.
 
I thought it was restricted to books like The Lion, the Witch and the Wardrobe where the fantasy realm is entered through some kind of gateway, in that case the wardrobe itself. But I see Wikipedia uses a somewhat wider definition -- "In ... "portal fantasy", a fantastical world is entered, behind which the fantastic elements remain contained" (though I can't see what the "behind which" refers to if there isn't a gateway, since it can't be the fantastical world itself).
 
I think of Alice in Wonderland as portal fantasy; The Lion, the Witch and the Wardrobe is another good example. So Mexican Gothic isn't an unmitigated example, but there is an element that the main character has exited the real world as she's known it to enter the more cloistered and even dangerous world of the Doyle Family.

Randy M.
 
It's a prologue -- you're allowed to skip it. Some people do so on principle.

I actually am pretty sure I’ve done that every other time I read this, but swore this time I’d read it all, prologue and appendixes (also never read) included. Then again, I did skip all the dreadful songs in The Hobbit...
 
I actually am pretty sure I’ve done that every other time I read this, but swore this time I’d read it all, prologue and appendixes (also never read) included.

I enjoy going along with the invitation to imagine the books as translations from accounts of otherwise-unknown long-ago events. Tolkien could have presented the prologue material etc. in a more dry manner, but he probably figured that his readers of this Hobbit sequel would often be young people. Anyway, I like that material as a genial warmup for the book. If one comes to the book as the source on which an action adventure movie sequence is based, one might find the prologue etc. to be off-putting -- I don't know if that's your situation.
 
I'm getting impatient with Connie Willis and her editor. Earlier this month I read Lincoln's Dreams and was impressed. This was a real novel.

But now I'm reading Blackout and it's pages and pages of dialog. Good dialog may be hard to write but dialog is easy to write, especially since word processors came along. My guess is Willis wrote the earlier novel by hand or on a typewriter but spun this one out on a computer. Pages and pages of talk. Quick, encourage me if the novel tightens up a bit. I'm already starting to think about returning it to the library and I'm only up to page 39.

I read Blackout/All Clear a few years ago and while I did enjoy them they were definitely long-winded. There is a lot of dialogue but at the same it felt like the characters were avoiding having proper conversations with each other about important topics which helped make the books longer than they perhaps needed to be.
 
I've been listening to the audiobook Consider Phlebas by Iain M. Banks. This book is rich in atmosphere, following the adventures of a criminal living on the outside of a post-scarcity society. The Culture seems to have a lot going for it, but Horza believes it has reached an evolutionary dead end. The pacing feels like a "slice of life" tale about a selfish jerk who wants to bring down a powerful and secure empire. The descriptions of the worlds, Minds, ships, orbitals, and other creations in this galaxy are vivid and believable. In spite of the Horza's attitude, it sounds like a universe worth living in, offering something for everyone.
 
Interesting. I never thought about giving Banks’s audio books a go.
 
Finished Anathem by Neal Stephenson, the book came available again from the library and I got right back to it. Really enjoyed this one, a lot of big ideas, cool tech, fun playful use of language.
 
My reading has rather picked up in September, with a further seven books completed and another two started in the second half of the month, beginning with Memory by Elizabeth Bujold, one of the Vorkosigan series. This was the first Bujold I’ve read so I came cold to all the backstory, and while I can’t say I was taken with Miles as a character – and I certainly couldn’t understand why women were throwing themselves at him – and the socio-political elements were a tad confusing, I enjoyed it.

From SF to fantasy, and Swordheart by T. Kingfisher. A very funny opening and some good reviews inveigled me to buy the paperback at the rather eye-popping price of £16.95, but I’m not convinced it was worth it. A full review here.

It was back to SF and a Did-Not-Finish with Otherland – or, rather, City of Golden Shadow, book one of the Otherland tetralogy – by Tad Williams. A doorstop of a novel, over 900 pages of very close type, and I struggled through about one-quarter of it before calling it a day. Multiple POVs including a private in WWI amid the horrors of the trenches, an African woman teaching VR technology with her San student, and a teenage gameplayer, all of whom I imagine would connect at some point to overcome a conspiracy in a virtual reality world which is putting youngsters into comas. Well-written, if at inordinate length for some scenes, but it didn’t interest me enough to make me want to continue another 700 pages of this book and likely another 3,000 pages of the other volumes just to find out what happens.

So a rapid change of pace and back to fantasy again with Broken Homes by Ben Aaronovitch, the fourth in his Rivers of London series about Peter Grant, a magician in the esoteric branch of the Metropolitan Police. This was actually an inadvertent re-read as I’d forgotten I’d already got this book, but I found the story of various murders, deaths and thefts which lead Peter to go undercover on a listed housing estate by a famous architect better this time around. It also served well as a lead in to Foxglove Summer, the fifth in the series in which Peter ventures out of London to help yokels in Herefordshire after two girls go missing. This one I didn’t enjoy nearly as much, partly because of the plot which had huge holes in it, partly because of a whiff of metropolitan prejudice and condescension about the sticks which seemed to come directly from Aaronovitch, and mostly because Nightingale, by far the most interesting character in the series, was completely sidelined in this.

Then it was back to SF with The Penultimate Truth by Philip K Dick. I struggle with much of his work, but despite some confusing passages at the beginning, with disconcerting and unnecessary neologisms, this was a largely accessible and easy read. Most of the world’s population is sent down to live in “ant-tanks” at the start of WWIII while robots – “leadies” – fight on their behalf. Twenty years later they’re still there, terrified of the radioactive wasteland above them, and under the eye of Soviet-style political officers they’re having to churn out more leadies to continue the war. But the war has actually long since ended, and the robots are servants to an elite class which lives above ground in luxury, though pressures from above and below mean things are about to change. This novel was inevitably dated (it was published in 1964) and there seemed to be a large plot hole about someone who is several hundred years old, but it was nonetheless an interesting and gripping read, raising the issues of truth, deception, and how far violence may be used to achieve good ends.

I continued in SF mode with another 1960s offering, Babel-17 by Samuel Delaney. Fortunately quite a short novel, I found this really hard going, and having got to the end I wondered why I'd bothered. Its premise is the then-fashionable idea that language determines thought and perception and therefore action – and, in the novel at least, the manipulation of material objects. Consequently, a language created by otherwise unnamed “Invaders” is a threat, not least to Rydra Wong, alleged poet and complete Mary Sue. Incomprehensible dialogue and narrative, unlikeable characters, thin plot.

Nothing deterred, I stuck with SF and Proxima by Stephen Baxter. This was a second attempt as I tried to read it last year and abandoned it after only 75 pages, but this time I managed to get through to the bitter end. A few thoughts about it here.

In addition to all those, as a side-read I’m slowly making my way though Quicksilver by Neal Stephenson, the first of his Baroque Cycle, and another huge brick of a tome, packed with virtually everyone who is anyone in the scientific and economic community in England from around 1655 to 1715, with additional personae from the continent and Boston, including Newton, Blackbeard, Ben Franklin, Charles II, Leibniz, Hooke and Samuel Pepys, all revolving around the invented character of Daniel Waterhouse FRS, dissenter and natural philosopher. It’s like having a time machine and eavesdropping on real life in the Restoration era with some delicious sly wit, not to mention the first incarnation of MIT.
 
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