Read those years ago and really enjoyed them. (They get a lot of poor reviews, but the guy was only 16 when he wrote Eragon.) He's presently writing or has written a fifth in the series.
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Really enjoyed 7 deaths. Also enjoyed his next book The Devil and the Dark Water. Didn't quite live up to 7 deaths, but a story like his debut will be hard to beat.
Peyton Stafford
Full Member
Insomnia last night. Read Francine Prose's Mr. Monkey and finished at 0130 this morning. Like all her books, I loved it, even though I knew I missed most of her literary allusions like a ten-year-old might. Unless the ten-year-old was a genius in the story. But I am not.
Seriously, reading a story told as a story, from multiple POVs with no slavery to show don't tell, kept me reading. The story, on the surface, is about a failing theatrical company's attempt to stage a play, but it speaks on deeper levels. Not just the rise to middle class for the many under dogs. The story of the short boy who dons a costume made from an old brown bed cover and cavorts in erotic acrobatics as he discovers his budding masculinity, but then ...
"nuff said," as Stan Lee put it. If you love beautiful writing, try Francine Prose.
Seriously, reading a story told as a story, from multiple POVs with no slavery to show don't tell, kept me reading. The story, on the surface, is about a failing theatrical company's attempt to stage a play, but it speaks on deeper levels. Not just the rise to middle class for the many under dogs. The story of the short boy who dons a costume made from an old brown bed cover and cavorts in erotic acrobatics as he discovers his budding masculinity, but then ...
"nuff said," as Stan Lee put it. If you love beautiful writing, try Francine Prose.
E G Logan
Full Member
I'm enjoying The Death House by Sarah Pinborough, though I didn't really expect to. I was researching her because of her agent, and SP's better known for psychological thrillers, which this isn't. Excellent characterisation and well written, if a tiny bit slow.
The author might have originally meant it as Y/A, given its cast of young people, but it wasn't marketed as that. A tragic love story in a speculative setting, the plot has strong similarities to Ishiguro's Never Let Me Go, though here we know from the outset what the situation of the young people is. The 'feel' is different, too, and I was trying to recall what it reminded me of – it's The Lord of the Flies.
Perhaps more when I get to the end.
The author might have originally meant it as Y/A, given its cast of young people, but it wasn't marketed as that. A tragic love story in a speculative setting, the plot has strong similarities to Ishiguro's Never Let Me Go, though here we know from the outset what the situation of the young people is. The 'feel' is different, too, and I was trying to recall what it reminded me of – it's The Lord of the Flies.
Perhaps more when I get to the end.
Peyton Stafford
Full Member
Just started The Heaven and Earth Grocery Store by James McBride. Love it so far. Great counterpoint to Boy's Life. Here is a link
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E G Logan
Full Member
I think you would like it. Now finished it, and I found it very good.Ooh, that interests me. You got me at LotFs
It is tightly plotted – the end is marvellous – and the characters are strong and realistic, seeming age-appropriate when some are young children. (Have the tissues handy.)
I'd be very interested in an opinion from someone who reads regularly in this genre, because I've read almost no Y/A since Treasure Island and The Black Arrow, long years ago. I believe it is Y/A, or maybe crossover, despite not being specifically marketed as such.
It does have marked similarities to Never Let Me Go, in terms of the basic premise and the setting, but (MHO) I prefer it, mainly as the plot is less meandering.
E G Logan
Full Member
Re Y/A – I am completely amazed.
When I checked Wikipedia just now, it said that The Death House (2016) was a HORROR novel. It was even shortlisted in its publication year for a horror prize.
That puts a whole new slant on things. As Y/A/Crossover, it's charming, romantic, elegiac even. As horror, it's probably a bit underpowered. And the sweet, lovely ending doesn't work for that genre at all.
I thought Pinborough did some clever things with scenes where the reader could feel the baddie was any moment going to be really bad – but he did a bit of a last-minute swerve and failed to be 100% evil. How does that fit in with horror?
Can someone else please read this and let us have their view?
When I checked Wikipedia just now, it said that The Death House (2016) was a HORROR novel. It was even shortlisted in its publication year for a horror prize.
That puts a whole new slant on things. As Y/A/Crossover, it's charming, romantic, elegiac even. As horror, it's probably a bit underpowered. And the sweet, lovely ending doesn't work for that genre at all.
I thought Pinborough did some clever things with scenes where the reader could feel the baddie was any moment going to be really bad – but he did a bit of a last-minute swerve and failed to be 100% evil. How does that fit in with horror?
Can someone else please read this and let us have their view?
I'm on the case, lol
E G Logan
Full Member
I can't leave it go either.
I never saw the book jacket because I bought the Kindle version, and I vaguely remembered Kindle Store saying this was a love story. Adult or Y/A not specified.
Just checked Kindle: it comes up with
The Death House: A dark and bittersweet tale that will break your heart and make you smile in equal measure
I think that's pretty fair.
I don't understand why the publishers would market any book in a genre that does not do it justice. @AgentPete any thoughts on this one??
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I just finished "The Fifth Season" by N. K. Jemisin. (Science Fiction. Awarded the Hugo Award for Best Novel in 2016. Series was as well.)
The book came highly recommended to me. I picked it up a while ago (years?) and put it on my "to read" pile as you do. I started it a few times, and it just never grabbed me, so I put it back on the "to read" pile, not the "abandoned" pile, as it was so highly recommended. I finally picked it up again with the intention to finish it. I just finished it this morning.
Holy crap.
Sure it took me a wee bit to get into it, but am I ever glad I pushed on. This book is absolutely brilliant. But not in the usual way. I never really warmed to the MC. She was always held a bit at arm's length, which felt appropriate for who she was. I shed no tears (I'm a super soft touch) and even at the end of the book, I was dry-eyed.
But as as I reluctantly, and at the same time, with a sigh of relief, closed the book, my eyes were like saucers, wide and unblinking, while my mind reeled in the sheer scope and magnificence of the story and it's telling.
The world-building is staggering. At the start of the book, it confused me, but the deeper you go, the deeper it gets. And the society is as unique as I've read. A lot is similar, so that you're not adrift, but there's elements that feel so alien, and yet, so reminiscent of our own more shameful history. The characters feel real, not heroes, or superheroes, or extraordinary, although some are, but all felt like people just trying to live, to find their place, to survive their tragedies. But the telling... the telling... I am still in awe of how N. K. Jemisin pulled off the incredible way she told this story. It's something I will think about for a long, long time.
If you're looking for a sweet, light-hearted tale, this is not that. But if you want to be blown away, this can't help but do that.
PS I have to add this in as I found it so refreshing to read... this was in the acknowledgments (no spoilers, but possibly typos as I'm just typing it here from the book.)
"Also big props to my editor, Devi Pillai, and my agent, Lucienne Driver, for talking me out of scrapping this novel. The Broken Earth trilogy is the most challenging work I've ever written, and at certain points during The Fifth Season, the task seemed so overwhelming that I thought about quitting. (Actually, I believe my exact words were, "Delete this hot mess, hack the Dropbox to get the backups there, drop my laptop off a cliff, drive over it with a car, set fire to both, then use a backhoe to bury the evidence. Do you need a special license to drive a backhoe?") Kate Elliott (another acknowledgement, for being a perpetual mentor and friend) calls moments like this the "Chasm of Doubt" that ever writer hits at some point during a major project. Mine was deep and awful....
then comes a few more acknowledgements of who else helped talk her off a cliff, including her cat, "yeah, even the damned cat" to conclude with.... "It takes a village to keep a writer from losing her shit, okay?"
The book came highly recommended to me. I picked it up a while ago (years?) and put it on my "to read" pile as you do. I started it a few times, and it just never grabbed me, so I put it back on the "to read" pile, not the "abandoned" pile, as it was so highly recommended. I finally picked it up again with the intention to finish it. I just finished it this morning.
Holy crap.
Sure it took me a wee bit to get into it, but am I ever glad I pushed on. This book is absolutely brilliant. But not in the usual way. I never really warmed to the MC. She was always held a bit at arm's length, which felt appropriate for who she was. I shed no tears (I'm a super soft touch) and even at the end of the book, I was dry-eyed.
But as as I reluctantly, and at the same time, with a sigh of relief, closed the book, my eyes were like saucers, wide and unblinking, while my mind reeled in the sheer scope and magnificence of the story and it's telling.
The world-building is staggering. At the start of the book, it confused me, but the deeper you go, the deeper it gets. And the society is as unique as I've read. A lot is similar, so that you're not adrift, but there's elements that feel so alien, and yet, so reminiscent of our own more shameful history. The characters feel real, not heroes, or superheroes, or extraordinary, although some are, but all felt like people just trying to live, to find their place, to survive their tragedies. But the telling... the telling... I am still in awe of how N. K. Jemisin pulled off the incredible way she told this story. It's something I will think about for a long, long time.
If you're looking for a sweet, light-hearted tale, this is not that. But if you want to be blown away, this can't help but do that.
PS I have to add this in as I found it so refreshing to read... this was in the acknowledgments (no spoilers, but possibly typos as I'm just typing it here from the book.)
"Also big props to my editor, Devi Pillai, and my agent, Lucienne Driver, for talking me out of scrapping this novel. The Broken Earth trilogy is the most challenging work I've ever written, and at certain points during The Fifth Season, the task seemed so overwhelming that I thought about quitting. (Actually, I believe my exact words were, "Delete this hot mess, hack the Dropbox to get the backups there, drop my laptop off a cliff, drive over it with a car, set fire to both, then use a backhoe to bury the evidence. Do you need a special license to drive a backhoe?") Kate Elliott (another acknowledgement, for being a perpetual mentor and friend) calls moments like this the "Chasm of Doubt" that ever writer hits at some point during a major project. Mine was deep and awful....
then comes a few more acknowledgements of who else helped talk her off a cliff, including her cat, "yeah, even the damned cat" to conclude with.... "It takes a village to keep a writer from losing her shit, okay?"
Last edited:
Peyton Stafford
Full Member
I want to read more of her work, especially since she builds worlds in which magic is magic and not a quantifiable D&D factor.
It's amazing, isn't it?
Peyton Stafford
Full Member
Starting bless me, Ultima.
I joined a craft book bookclub, and our first book to read is "Story Genius" by Lisa Cron. The subtitle is "How to use Brain Science to go beyond outlining and write a riveting novel*" and then the *is also on the front cover and it says [*Before you waste three years writing 327 pages that go nowhere.]
Yuck. That's what I thought just from that title. But I wanted to read it for the book club I just joined. I continued to think yuck until about 30% in. The style of the book is "Myth busting - you thought this. Well, Nope! That's wrong." And the "Science" is pseudo science and pretty basic stuff. There really wasn't anything in the first 30% that I hadn't heard before. And there's a LOT of filler. Like she really knows how to make a meal of a snack. I was pretty annoyed.
Then she hit on something that I thought, ooooh, that's kind of good. And it got me thinking, and then it got me doing the exercises for my current story. It was stuff I'd kind of already worked out, but this solidified and deepened what I had. Like a lot. There's also an example of a real writer working through this exercise for this book. Cron was pretty fortunate to have this writer agree to do that. It was something I hadn't seen before, and was really interesting. The story being writen was of no interest to me, but the process was.
I'm 72% in now, and back to skimming. She calls an outline a "blueprint" and talks about the "Story Genius Index Cards" method like it's a revelation. And the stuff she writes about "endings" I actually just don't agree with a lot of it. And she even goes as far as telling you what to name and how to organize your files for your novel. Um. really?
Now, if this had been my first craft book, I might not be so cynical. But it's not, so I am. That said, even if the last 28% doesn't yield insights for me, I am still glad I've read it for that one section that got me excited and gave me something I'll use moving forward. That's huge. You gotta take the golden nuggets where you can!
Yuck. That's what I thought just from that title. But I wanted to read it for the book club I just joined. I continued to think yuck until about 30% in. The style of the book is "Myth busting - you thought this. Well, Nope! That's wrong." And the "Science" is pseudo science and pretty basic stuff. There really wasn't anything in the first 30% that I hadn't heard before. And there's a LOT of filler. Like she really knows how to make a meal of a snack. I was pretty annoyed.
Then she hit on something that I thought, ooooh, that's kind of good. And it got me thinking, and then it got me doing the exercises for my current story. It was stuff I'd kind of already worked out, but this solidified and deepened what I had. Like a lot. There's also an example of a real writer working through this exercise for this book. Cron was pretty fortunate to have this writer agree to do that. It was something I hadn't seen before, and was really interesting. The story being writen was of no interest to me, but the process was.
I'm 72% in now, and back to skimming. She calls an outline a "blueprint" and talks about the "Story Genius Index Cards" method like it's a revelation. And the stuff she writes about "endings" I actually just don't agree with a lot of it. And she even goes as far as telling you what to name and how to organize your files for your novel. Um. really?
Now, if this had been my first craft book, I might not be so cynical. But it's not, so I am. That said, even if the last 28% doesn't yield insights for me, I am still glad I've read it for that one section that got me excited and gave me something I'll use moving forward. That's huge. You gotta take the golden nuggets where you can!
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I enjoyed Story Genius. I was the same with the story. Not interested in the story, but the process of writing it was fascinating. For me, the table on page 153 has been priceless. I'm always coming back to it
Ah cool! I hear it's a very "love it" or "hate it" kinda book. So glad to hear that you got so much out of it. xI enjoyed Story Genius. I was the same with the story. Not interested in the story, but the process of writing it was fascinating. For me, the table on page 153 has been priceless. I'm always coming back to it
I'm reading Jude Deveraux's Lavender Morning. She has got some mystical way to bewitch me. I always start her novels trying to analyze the magic she does, and by the first 20 pages, I am so deeply involved with the story that I can't think critically. She is an incredibly talented plotter. If only I could learn to do what she does! She is so skillful at weaving with words. I recommend her to all lovers of romance.
I haven't been able to finish any published books lately - unusual for me but they're just not holding my attention - but I've beta-read for a couple of Litopians in the past few weeks and was hooked, finishing their novels quickly. What does this say about the publishing industry?
What does it say about Litopia? Making better writers of us all.
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E G Logan
Full Member
One for the crime readers, and in no way is it cosy. (This is slightly amended from my Amazon review.)
Gritty, bloodthirsty and very, very Scots: Squeaky Clean by Callum McSorley
(debut novel, winner of this year's McIlwanney Scottish crime prize)
First, let me say when I call this 'very, very Scots', I am Scots. (Born, bred, educated... etc) And for the purists, South-Central Scots, with some time spent in both Aberdeen and Dundee. So I don't have any problems with the dialect, the idioms and the geography that the author uses.
I say it merely to point out that McSorley isn't taking any prisoners in any of those respects, and some readers may struggle. His writing is tight, with no room for (any) explanations that might slow the flow. He sets the bar high for himself in terms of dialect, with most of the narrative in shades of Glesca plus sections in what one of the Glaswegian hoods describes as 'either Dundee or Aberdeen'. (I'm not sure, but McSorley may have meant him to have got that wrong.) The third person narrator is also Glaswegian.
After a slowish start – how exciting is a car wash? – the story barrels along. The characters are strong, varying from gormless to seriously unlikable to downright terrifying, and the omni-present violence is gruesome and real. Ultra-violence. I feel sure most men will wince at least once.
The plot is dense. At over 70% on my Kindle I still had no idea at all how it was going to unwind. Absolutely everyone except a couple of potential fall guys (one the female cop) seems to have an agenda; no one is entirely what they appear and the greasy tentacles of 'organised' crime work their way in everywhere, unseen but apparently inescapable.
One quibble: the Scottish sporting in-jokes. Too, too many.
Gritty, bloodthirsty and very, very Scots: Squeaky Clean by Callum McSorley
(debut novel, winner of this year's McIlwanney Scottish crime prize)
First, let me say when I call this 'very, very Scots', I am Scots. (Born, bred, educated... etc) And for the purists, South-Central Scots, with some time spent in both Aberdeen and Dundee. So I don't have any problems with the dialect, the idioms and the geography that the author uses.
I say it merely to point out that McSorley isn't taking any prisoners in any of those respects, and some readers may struggle. His writing is tight, with no room for (any) explanations that might slow the flow. He sets the bar high for himself in terms of dialect, with most of the narrative in shades of Glesca plus sections in what one of the Glaswegian hoods describes as 'either Dundee or Aberdeen'. (I'm not sure, but McSorley may have meant him to have got that wrong.) The third person narrator is also Glaswegian.
After a slowish start – how exciting is a car wash? – the story barrels along. The characters are strong, varying from gormless to seriously unlikable to downright terrifying, and the omni-present violence is gruesome and real. Ultra-violence. I feel sure most men will wince at least once.
The plot is dense. At over 70% on my Kindle I still had no idea at all how it was going to unwind. Absolutely everyone except a couple of potential fall guys (one the female cop) seems to have an agenda; no one is entirely what they appear and the greasy tentacles of 'organised' crime work their way in everywhere, unseen but apparently inescapable.
One quibble: the Scottish sporting in-jokes. Too, too many.
I won't be reading it, but I know the guy. Great to see him doing so well.
E G Logan
Full Member
He was quite unkind about teuchters in the book, but I thought I wouldn't mention that! I knew at least one person here would get it.
E G Logan
Full Member
Fallen Angel – Chris Brookmyre
Phew! Brookmyre just snatched the chestnuts out of the fire with this one, very nearly lost a reader there.
I had got to the point, about 20-30 pages in, where I said to myself: "If this fellow doesn't produce one sympathetic character or one interestingly vile villain in the next five pages, I'm packing this in." And, of course, he then did. But no spoilers as to which.
I should have realised, as he has form for starting off with an over-long section about or from an unsympathetic character. (I don't know how he gets it past his agent and his publisher, tbh.)
This one gets better and the plot is satisfyingly dense, but I have quibbles. There are too many characters, not sufficiently, well... characterised, and too many black to pale grey conversions – not to mention the one in the other direction – over the 15 year gap that intervenes between earlier events and their resolution. The final twist works, just about, but could have done with ONE sentence of preparation well planted earlier – as it stands it involves a rather big coincidence. You will get it once you think about it, but you shouldn't need to.
The Wager – David Grann
I've just started this but I've really enjoyed what I've read so far. A lesson in narrative non-fiction or long-form feature writing. (Grann is a US journalist.) Obvs reviews were stellar, but this does seem to justify them.
More when there's more to say.
Phew! Brookmyre just snatched the chestnuts out of the fire with this one, very nearly lost a reader there.
I had got to the point, about 20-30 pages in, where I said to myself: "If this fellow doesn't produce one sympathetic character or one interestingly vile villain in the next five pages, I'm packing this in." And, of course, he then did. But no spoilers as to which.
I should have realised, as he has form for starting off with an over-long section about or from an unsympathetic character. (I don't know how he gets it past his agent and his publisher, tbh.)
This one gets better and the plot is satisfyingly dense, but I have quibbles. There are too many characters, not sufficiently, well... characterised, and too many black to pale grey conversions – not to mention the one in the other direction – over the 15 year gap that intervenes between earlier events and their resolution. The final twist works, just about, but could have done with ONE sentence of preparation well planted earlier – as it stands it involves a rather big coincidence. You will get it once you think about it, but you shouldn't need to.
The Wager – David Grann
I've just started this but I've really enjoyed what I've read so far. A lesson in narrative non-fiction or long-form feature writing. (Grann is a US journalist.) Obvs reviews were stellar, but this does seem to justify them.
More when there's more to say.
I just finished A Memory Called Empire by Arkady Martine. Science fiction that explores deep questions about 'self', 'other' and how we interact with our own culture and foreign cultures, particularly when the foreign culture threatens our own. Beautiful world building--Martine packs a lot of info into each sentence, without coming across as info dumping. Sometimes a bit hard to tell whose thoughts are whose, but that is clearly on purpose. Definitely worth a read--it embodies everything good sci-fi should be.
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Just finished Twin Crowns by Catherine Doyle and Katherine Webber (YA Fantasy) and, yay, it will work as a comparative novel for my WIP! Two sisters, one crown, a brewing war against witches, wicked leaders, self discovery, love interests and good dollops of humour. A pacey and enjoyable read.
E G Logan
Full Member
I recently finished Postcards from Valhalla, by Danny Weston. It's YA fantasy, and I include it here for those in that genre, though I don't exactly recommend it.
I read it for possible worrying overlap with my Dark Gothic WiP (no problem, very different), and interest in the publisher, UCLan Publishing (forget that, no unsoliciteds). For my purposes, it offered useful pointers as to what not to do – though I accept that in YA much may be different.
The story, edited from UCLan website:
'Viggo is 15, living in Edinburgh with his mum... His older brother, Magnus, has (just) gone missing on Shetland. Mum, (frantic, plans) to go and search for him. Five years ago, Viggo’s dad, Jonathan, ... disappeared (there). He's now ‘missing presumed dead.’ Viggo (opts) to go to Shetland with Mum – but from... (the off he's).. troubled by visions: armed warriors, mythical creatures and Viking longships.'
My main problem was Weston's almost total absence of detail, in a setting that must be heaving with it, and atmosphere – to the point where I wondered if he had actually visited the (real) places he names. [My setting is fictional, though I am trying as far as possible to nail the historical and geographical things. Also the fierce and changeable weather, a significant feature of life in the Northern Isles but hardly touched on by Weston.]
A bit of a spoiler:
The action winds up (predictably) with Viggo finding a portal on the real Shetland island with "the most Viking remains outside Norway" – haven't managed to check that one out – which are, however, tantalisingly undescribed. The ensuing Battle between Good and Evil is about as gripping as the back page of The Beano, though my 12-yr-old self might not have found it so.
It's never explained why a family of Scots living in Edinburgh should give their sons Nordic or Scandinavian first names, though maybe it's implied. And for a story about Vikings to dismiss Jarlshof, 4,000 years of continuous human occupation – ''The Jarlshof Prehistoric and Norse settlements in Shetland are one of the most important and inspirational archaeological sites in Scotland," Visit Scotland – in a couple of sentences...
I read it for possible worrying overlap with my Dark Gothic WiP (no problem, very different), and interest in the publisher, UCLan Publishing (forget that, no unsoliciteds). For my purposes, it offered useful pointers as to what not to do – though I accept that in YA much may be different.
The story, edited from UCLan website:
'Viggo is 15, living in Edinburgh with his mum... His older brother, Magnus, has (just) gone missing on Shetland. Mum, (frantic, plans) to go and search for him. Five years ago, Viggo’s dad, Jonathan, ... disappeared (there). He's now ‘missing presumed dead.’ Viggo (opts) to go to Shetland with Mum – but from... (the off he's).. troubled by visions: armed warriors, mythical creatures and Viking longships.'
My main problem was Weston's almost total absence of detail, in a setting that must be heaving with it, and atmosphere – to the point where I wondered if he had actually visited the (real) places he names. [My setting is fictional, though I am trying as far as possible to nail the historical and geographical things. Also the fierce and changeable weather, a significant feature of life in the Northern Isles but hardly touched on by Weston.]
A bit of a spoiler:
The action winds up (predictably) with Viggo finding a portal on the real Shetland island with "the most Viking remains outside Norway" – haven't managed to check that one out – which are, however, tantalisingly undescribed. The ensuing Battle between Good and Evil is about as gripping as the back page of The Beano, though my 12-yr-old self might not have found it so.
It's never explained why a family of Scots living in Edinburgh should give their sons Nordic or Scandinavian first names, though maybe it's implied. And for a story about Vikings to dismiss Jarlshof, 4,000 years of continuous human occupation – ''The Jarlshof Prehistoric and Norse settlements in Shetland are one of the most important and inspirational archaeological sites in Scotland," Visit Scotland – in a couple of sentences...
Over the past month I have just revisited the entire Hitchhiker's Guide series. Never grow tired of it. Sublime.
Last time I did this was probably ten years ago and since then, joining Litopia in the interim, I have been pointed in the direction of Terry Pratchett's stuff.
Now I know this won't be a popular opinion, but I have to say I think Adams has it in spades over Sir TP. For me Pratchett's work is far too meandering and unfocused. Whacky for whackiness sake. None of his characters can seem to walk from A to B without a multitude of diversions as a device to crowbar in some kind of, at best, an occasionally moderately amusing joke.
Please, fellow Litopians, don't hate me. You know who you are I really so wanted to love his stuff. But sadly... for me it's a no.
Being honest, of the seven titles of his I have read, I have warmed to only two. I have found the other five irritatingly convoluted. To the point of just having bailed on Moving Pictures after 3 chapters this very day. As with the others, I lost all interest in the characters and the plot. But in this case I now can't be bothered to care to struggle to the end.
And please hear me out. I've given Sir TP a good go. And, sure, he's not in any way terrible, he's just not just my cup of Darjeeling. In comedy terms I feel he's rather twee - sort of the Two Ronnies v the sharp, cutting genius of The Office or Fr. Ted.
Maybe I have chosen the wrong titles - but, sad to say, I think I see a pattern forming that will never float my boat.
Last time I did this was probably ten years ago and since then, joining Litopia in the interim, I have been pointed in the direction of Terry Pratchett's stuff.
Now I know this won't be a popular opinion, but I have to say I think Adams has it in spades over Sir TP. For me Pratchett's work is far too meandering and unfocused. Whacky for whackiness sake. None of his characters can seem to walk from A to B without a multitude of diversions as a device to crowbar in some kind of, at best, an occasionally moderately amusing joke.
Please, fellow Litopians, don't hate me. You know who you are
I really so wanted to love his stuff. But sadly... for me it's a no.Being honest, of the seven titles of his I have read, I have warmed to only two. I have found the other five irritatingly convoluted. To the point of just having bailed on Moving Pictures after 3 chapters this very day. As with the others, I lost all interest in the characters and the plot. But in this case I now can't be bothered to care to struggle to the end.
And please hear me out. I've given Sir TP a good go. And, sure, he's not in any way terrible, he's just not just my cup of Darjeeling. In comedy terms I feel he's rather twee - sort of the Two Ronnies v the sharp, cutting genius of The Office or Fr. Ted.
Maybe I have chosen the wrong titles - but, sad to say, I think I see a pattern forming that will never float my boat.
Just finished The Wide Wide Sea: Imperial Ambition and the Fateful Final Voyage of Captain James Cook by Hampton Sides. Great read.
After the Hawaiians clubbed him to death (a few miles from my house) for over-staying his welcome, Cook was, well, cooked (that's how Hawaiians disposed of their royalty, and many Hawaiians thought he was the deity Lono returned from ancient folklore). So much was named for him, here, there and all around the Pacific, including the town of Captain Cook, Hawaii, near where he met his fate.
Aloha!
After the Hawaiians clubbed him to death (a few miles from my house) for over-staying his welcome, Cook was, well, cooked (that's how Hawaiians disposed of their royalty, and many Hawaiians thought he was the deity Lono returned from ancient folklore). So much was named for him, here, there and all around the Pacific, including the town of Captain Cook, Hawaii, near where he met his fate.
Aloha!
@Jonny - I agree. But to be fair, nothing ever holds a candle to Hitchhiker's Guide. Never has. Never will. It's in a league of it's own.
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