Thursday, October 25, 2012
Apart from the real world monsters of our own history, the creature in question here is The Master - the vampiric overlord who has devastated the planet with atomic weaponry, creating a nuclear winter that is more than ideal for his hive of strigoi, effectively blocking out the sun and plunging the planet into darkness. With the Earth's unaffected population managed with the allowance of bare bones blue-collar work, and the facilitation of macabre "blood camps", the world does, in fact, keep on turning as Doctor Ephraigm "Eph" Goodweather, Nora Martinez, and Vascily Fet manage to survive and resist, looking for any way to end The Master's reign.
The heroes of our story are likewise descended into their own Dark Night of The Soul; Eph has secluded himself from the band of survivors he once led, the torment of losing his wife and son pushing him toward coping skills of the pharmaceutical variety; Nora, the former colleague and lover of Eph, is stifled by the kidnap of her mother, and the return of a devil in human form; and finally, Fet, the Russian exterminator whose aptitude for survival and problem solving have placed him in an awkward position of power and purpose.
The Night Eternal did bring with it a few scares, particularly the blood camps. It was subtle, but the realization that something not too dissimilar took place within our own timeline lent an especially sinister quality, and the complete subjugation of the our race is always a source of disturbance. The vampire horror was fairly downplayed this go around, which I found to be an interesting choice from the writers. Instead, the real horror stems from the dissension within companionship, the parental fear of losing a child to death or estrangement, and the misery of loss.
As well developed as was the idea for The Night Eternal, I think it would be fair to say that the quality of the series is diminished as the books progress; what had been quirky and novel in the first book became somewhat overdone and cliche, and there's a point wherein you can only travel a two-dimensional plane of character for so long without succumbing to frequent fits of yawning.
Still, authors of The Night Eternal know how to keep their readers turning the page. There can be no question that both writers are seasoned story-tellers, as the book's vehicle of plot travels both fast and efficiently enough to move from point A to B; there's almost no noticing the lack of character depth or the overabundance of obviously manufactured conflict.
I'm almost ashamed to say that I'm glad to be finished with the series, but I do recommend it to anyone looking for something a little different in a genre that has become hopelessly stagnant. Writers Chuck Hogan and Guillermo Del Toro have no doubt brought some fresh blood to the table.
Wednesday, October 10, 2012
So says Death, the narrator of Mark Zusak's The Book Thief, a young adult novel about a little girl named Liesel Meminger, and all that she experiences as a foster child living in a poor Munich neighborhood during the swell of Hitler's power.
At its center, The Book Thief is a story about words; the power that they hold, and that can be released upon the hearts and minds of the living - the power to build and nourish, as well as the power to enslave and destroy. Liesel discovers that power when her foster father begins to teach her to read and write, and it kindles within her an obsession that not only fuels her desire to obtain words when and wherever she can, but also her hatred of the Fuhrer, and the mastery he holds over them. When the mayor and his wife discontinue Liesel's foster mother's laundering services, it isn't long before Liesel sets her sights upon the mayor's house and the irresistible library of books within...
Given the setting of The Book Thief, it's no revelation that things turn dark quickly, and having Death as the story's narrator is fitting. The prologue does well to convey this fact soon, though I found Death's over-use of metaphor to be abstruse and pretentious. This malady does even out after the prologue, however, and for me it made the prospect of 552 pages far more appealing. Zusak's personification of Death was refreshing, and his detached and omnipresent observer of human life was keen in its handling.
Even within the shadow of World War II, the book's description of young life does well to convince the reader that the characters of the book are real children, all with the innocence of youth that would undermine Nazi propaganda and question its imposed authority with wonder. In one such instance, Liesel's friend, the adorable blonde-haired and blue-eyed Rudy Steiner, paints himself with coal and dashes through the town in an effort to imitate his hero, Jesse Owens, an Olympic competitor. It was both uplifting and saddening when, after being apprehended, Rudy's father explained to him that even though there was nothing wrong with idolizing Jesse Owens, he now lived in a society where it simply could not be tolerated.
As one might expect, events become ever more tense when Liesel's adoptive father honors a debt from a long-gone Jewish friend by harboring the deceased man's son, Max, within the safety of the Meminger home's basement. With the war festering the soul of Liesel's neighborhood outside, she and Max develop a bond based on mutual respect and admiration for the power of words. While Max busies himself by sketching and writing within his notebook, Liesel serves as an ambassador to the outside world. The warmth of their friendship rises from the pages of The Book Thief, and is a balanced contrast to the spreading devastation throughout the rest of Germany.
In an uncommon change of pace, the author typically chooses to reveal the outcome of events and character fate well before the end of a chapter, and the reader develops a clear idea of the books ending well before the last page. It's my notion that the end of The Book Thief would be evident to even the greatest optimist, and the author's skill as a story-teller shines with his ability to avoid cliche in making the events leading to the story's end the most valuable.
All said, The Book Thief is a heavy read - not only is it a hefty volume to carry about, but the full spectrum of emotional content will linger ever on after the completion of its last page.