Rainbows End

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Rainbows End by Vernor Vinge

2007 Hugo Award Winner

Read by Eric Conger

Got it from: Own it

14h 46m

After medical treatments make it possible for Alzheimer patients to completely recover, Robert Gu finds himself in a pretty intensive rehab program.  He isn’t the person he used to be, and he doesn’t live in the same world either.  He was a famous poet in a world similar to ours. Now he is no one, learning how to “sming” and how to interface with computers.  It is during his rehab at Fairmont High School, that Robert becomes embroiled in a conspiracy plot to end all conspiracy plots.

Multiple realities

So there is one reality where an author has an uncanny ability to tap into the most salient features of some really complex issues.  In Rainbows End, Vinge reminds us how well he capitalizes on our most deep-rooted fears and our most lofty scientific achievements.  In beginning this book, I had figured Rainbows End for another goldmine of Vinge-y, SF goodness…but I didn’t labor under that delusion for long.

I was excited by the opening computer/chemical warfare plot.  I was reminded of the cyber-attacks on nuclear facilities in Iran going back a couple of years and I thought Vinge might have been preparing to go bigger.  I was strapping myself in for Vinge’s brand of ultra-paranoia.  It harkened to the message boards in A Fire Upon the Deep and man…I ate that stuff up.

In the first chapter, “Mr. Rabbit visits Barcelona” (Sweet title. I loved it), Vinge was poised to capitalize on how compelling and/or dangerous the convergence of several technological advancements could be in a world where anonymous access is taken to just about every extreme, and I was ready to follow him wherever he wanted to go.

Taken separately, individual elements of Vinge’s future were awe inspiring, but the other reality of Rainbows End is that as these elements come together and the story starts to drag on and on, the final product doesn’t seem equal the sum of its parts.

I almost think this is worse than having just written a story that falls flat altogether.  Vinge touches on all the right topics and sets himself up for a home run, while everyone is batting blindfolded.  Instead of just striking out, as authors do sometimes, in Rainbows End, Vinge lets go of the bat and injures some unsuspecting kid in the stands hoping to catch a foul ball.  And I think I might have been that kid, because this one left me confused.

While I admit to exclaiming audibly at the coolness of this or that bit of tech or social construction quite frequently, I didn’t much enjoy the overall story.  Tension? Not so much.  Compelling characters? Nope.  Cool world, but there was never any reason to be in it.

Recommendation

Consistent with my last Vinge experience, Rainbows End incorporates a plethora of themes both scientific and psychological, and fantastically so, but it also lacks a lot. Comparing the two Hugo winners that I’m familiar with, Rainbows End feels like it occupies a specific place and time in a way that A Fire Upon the Deep did not.  I don’t have much interest in re-reading this one, but I am curious how it will hold up to another ten years or so.  I might be wrong; it could be like good wine.

I actually started this review several weeks ago and before I chucked everything I had and started again, I noticed that this audiobook was only fourteen hours.  Not terribly long as far as audiobooks go, but it felt longer than some of the longest I’ve gone through so far.  I guess even though the concepts were interesting, they only had the power to captivate for so long.  Perhaps I’ll enjoy the shorter stories that Rainbows End was based on instead.

HEP SCORE

Universe 4/5

Social/Political Climate 5/5

Dialogue 3/5

Scientific Wonders 4/5

Characters 3/5

Overall 19/25

The Yiddish Policeman's Union

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The Yiddish Policeman’s Union by Michael Chabon

2008 Hugo Award Winner

Read by Peter Riegert

Got it from: Public Library

10h 45m

In Chabon’s alternate history, European Jewish refugees were allowed to settle in Sitka, Alaska during WWII.  Israel was destroyed after only a few months, and now after sixty years, the Federal District of Sitka is set to revert to the state of Alaska.  In the midst of the gloom and the impending finality that surrounds the district and its inhabitants, Meyer Landsman, an alcoholic homicide detective, finds himself pulled inexorably into the murder investigation of the son of a powerful organized crime boss.

Reading in three dimensions

No one can deny that the Hugo list, which has tended to the representation of male and WASPy perspectives, could use an infusion of diversity.  Some of my favorite Hugo’s have been those that more inclusive of a wider array of human experience, but they’re few and far between.  I was pretty excited by the title, The Yiddish Policeman’s Union, for that very reason.  Chabon’s win has the added benefit, or curse, of being the kind of book that tests our boundaries, and as a result, reaches fans outside the genre.  And that’s probably a good thing.

At the same time as I’m happy about this book as a kind of border crossing, I’m not a great fan of alternate history as SF.  I’m not aware of much critical discussion regarding the topic, and maybe this is my fault.  Maybe there is a true dearth of scholarship on the fringes of SF, I’m not sure.  I suppose I should do some research.  I do know that I don’t find that the most often repeated justification holds water.  After all, doesn’t every book ask, “what if?”, in some way or another?

Whatever your perspective of the appropriateness of considering this book, or alternate history in general, as a part of the Science Fiction/Fantasy universe, this book will hopefully be one that, years from now helps us to better understand the genre.  Other than this, I feel pretty ambivalent about The Yiddish Policeman’s Union.

Chabon in fact conceived of the book as a result of something of an odd question - What if there was a place that would necessitate a translation manual from English to Yiddish.  What countries would such a manual (he happened across one called “Say it in Yiddish”) be necessary?

Chabon’s Sitka, Alaska, was a pretty wonderful exploration.  There is a very real sense of place and space – a feeling of a living breathing place – which is the result of some truly great prose.  It tricks you into grabbing hold of the direct and austere noir elements which he then slyly pokes holes in with unexpectedly sardonic witticism and cynical-yet-florid descriptions.  The effect is that every street, building, and room, has something of a unique texture and feeling of actual depth.  It felt like reading in three dimensions.

Despite amazingly great writing, I thought the story itself was lackluster at best.  I’m normally a fool for a story with such dark and hopeless characters and places, but something kept me from really sinking into this one.  Even by the end I didn’t have any particular feelings about it.  I hope it wasn’t because I was forced to listen to the audiobook, but it could have been.  There were countless times that I wish I could have lingered on a scene or phrase.  I guess this is all good reason to return, at a time when I’m more prepared to give it some real effort.  Honestly though, I don’t know what would motivate me to do that.

The audiobook

When I started this decade, I was committed to “no more audiobooks”.  Then I checked out Susanna Clarke’s mind-bogglingly long winner and felt I had no choice but to listen during my commute if I wanted to finish the Hugo’s anytime soon.  A vague awareness of the book’s critical reception had only heightened my anticipation and I had been excited to read The Yiddish Policeman’s Union for the cover alone so I was a little disappointed that I didn’t get the feel of real pages. 

Peter Riegert’s reading was the perfect substitute.  He was great for capturing the gritty-noir and the uncomfortable air of something impending.  Perhaps his gruff sound took something from the moments of levity in Chabon’s prose, but I loved every minute of his reading.

There is also an interview with Chabon at the end of the book which was helpful.  I appreciated the better understanding of where Chabon was coming from, the genesis of Jewish Sitka, and his intentions.

Overall, I was happy with the audiobook.  I don’t know that I would really encourage anyone else to listen but if someone were anxious to, I wouldn’t stop them.

Recommendation

Despite recognizing that this was an amazing book, I find myself deeply perplexed as to how it was nominated and won Best Novel.  I’m not completely convinced that it belongs here and Chabon himself admits that he never thought of it as science fiction while writing it.  I normally don’t care much for what an artist thinks of their own work once it’s in the public sphere, but in this case it seems telling.  I’m not diametrically opposed to it winning, I just need better context.  For everyone else, there’s plenty to like here.  Just know what you’re getting into.

HEP SCORE

Universe 5/5

Social/Political Climate 4/5

Dialogue 4/5

Scientific Wonders 3/5

Characters 2/5

Overall 18/25

The Graveyard Book

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The Graveyard Book by Neil Gaiman

2009 Hugo Award Winner

Got it from: Public Library

Audiobook read by the author

7h 45m

The only surviving member of his murdered family, Nobody Owens was raised by ghosts.  As you can imagine, Nobody eventually wishes to leave the graveyard and explore the big world, only to find that in the real world, there’s no place as friendly as your neighborhood graveyard.

My library has The Graveyard Book in just about every format to be found and I tried to sample them all.  In the end, I decided to try out these Playaway thingies.  My Mom has told me about them at her library, but I’d never actually seen one before now.  I liked that there was an option to speed-up or slow-down the audio, and that it was read by the author, so I decided to give it a shot while also making note of the many other formats in existence (the illustrations by Dave McKean looked fantastic).

I’m glad I chose the Playaway device (a counterintuitive use of an mp3 player) because although the faster speed setting wasn’t to my taste, just hearing Gaiman read “flibbertigibbet” at what was descriptively labeled “speed ++”, was well worth the price of admission.

Titular-ly suggestive

Going into this book, I knew next to nothing about it.  Since completing it, I’ve seen The Graveyard Book oft praised for inspiring a sense of wonder.

Well, it certainly starts out promising.  The title alone is about as ominous as the Hugo’s come (maybe right behind Doomsday book).  We are immediately introduced to a toddler who has only narrowly escaped the clutches of “The Man Jack” (another threatening title), who murdered his family for an undisclosed reason.  The first chapter ends when the boy is rescued, at the behest of his recently dead mother, by a graveyard full of very unthreatening ghosts.  The rest of the book cobbles together an uninspiring hero’s journey, never managing to live up to the possibilities suggested by the title and first chapter.  Gaiman notes that it began as a re-telling of The Jungle Book, but I just didn’t find it to be much of an improvement.

This is a book with an orphaned protagonist, ghosts, ghouls, and a murderous evil dude, from the 2000’s and it’s not Harry Potter.  The fact that it is still well-known and well-loved is impressive.  However, beyond the neat concept, the story lacks any robust development and it never mattered to me whether Bod would ever see Scarlett again, whether he’d get out of the graveyard permanently, or whether anything in particular would happen at all.  The graveyard ghosts fell flat for me and Nobody Owens was one the most flat characters of all the Hugos.   I might have cared about The Man Jack for a minute…but then I stopped at the uninspired “Jacks of All Trades”.

The Harry Potter series, for all its faults, had readers invested in not only Harry, Ron, and Hermione, but in the Hogwarts Castle, secondary characters and the compendium of magical beasts and intricacies of the previously unknown magical world.  Compared, The Graveyard Book is just the most beautifully wrapped and enticing gift under your Christmas tree that upon unwrapping turns out to just be a second pair of boring pajamas.

The good wreck

Gaiman has a very recognizable voice.  I’ve only read The Graveyard Book, Coraline, and I’ve heard him read a handful of things on the Youtube, but even this small sample has demonstrated an instantly recognizable author’s voice.  He tells The Graveyard Book in much the same way that he addresses a graduating class.  I happen to like that he approaches all of these with the same level of care for the construction and tone, so it’s fair to say that despite a fairly strong disconnection from the characters and events in The Graveyard Book, the vehicle in which it was told was truly pleasing.

But that’s not the voice I mean to talk about.  I mean to say that his voice – his speaking voice – is just wonderful.  If I were a contestant on one of those old dating shows where the bachelors are screened from view and they answer inane questions and whatnot and Neil Gaiman were one of the bachelors, his voice would totally be my pick.

He has the sort of voice that can perfectly convey the sense of wonder (I’ll admit there is a little more than none), of silliness, but also of the grave things that only a children’s story might contain all at once.  The combination of his distinctive brand of storytelling and a rather natural voice-acting ability (the man knows how to pause like nobody’s business) created a children’s story that can fill the room.

I’m aware there are a great many people out there that enjoyed this book more than I did and I imagine for those who did, listening to Gaiman read it himself will just wreck them.  This has been one of my most favorite audiobook experiences thus far.

Recommendation

The only other complaint I’d pass on here, was that it seemed to have such a deficit of emotion (and a story about an orphaned child should have been easy) that I never felt much about it at all.  Honestly, the 2009 nominees included some pretty big names (Charles Stross, Cory Doctorow, John Scalzi, and Neal Stephenson), and it seems unlikely that this one pulled out the win.  It was fun at times, but mostly just seemed uninspired.  If my daughter were reading now, this would be pretty hard to suggest given the dearth of amazing SF/F for kids in existence.

HEP SCORE

Universe 2/5

Social/Political Climate 3/5

Dialogue 4/5

Scientific Wonders 2/5

Characters 3/5

Overall 14/25

After initially deciding not to listen to any more audiobooks for the remainder of the challenge, the time it is taking me to finish Jonathan Strange & Mr. Norrell is forcing me to.  So while I continue with that beast, I'm also listening to Harry Potter and the Goblet of Fire.