I read a lot of books, and most don’t get reviewed here on the blog. The ones I spend the time to review are ones I find significant (or wacky) in some way. I don’t need to say Linda Nagata’s The Red: First Light is an excellent Sci-Fi novel, as it’s been reviewed many times and nearly captured a brace of prestigious awards. It’s cracking good adventure, has excellent character depth, a delightfully high stakes Alistair MacLean plot and even a believable and heartbreaking love story woven in–the latter not something usually found done well in a Sci-Fi book. I’m not the first to say it’s a worthy carrier of Haldeman’s The Forever War torch in theme, character and tone (yes, many f-bombs).
Even though I found Blood Meridian tedious, I had already reserved All the Pretty Horses from the library plus, my wife had read it, so I figured I’d give it a go. It is better than Meridian. McCarthy lays off the heavy use of run-ons, got rid of his thesaurus (see my review of Blood Meridian for his obnoxious thesaurus-itis in that book) and the plot has enough elements to it (most of the time) that it kept my interest. There are several extended scenes that kept me reading later than I would have, wherein the fate of the protagonist is in doubt. Again, the descriptions are the forte, and in this case, the focus is not all on horror, but the beauty of a Southwest and Mexico which no longer exist.
TL;DR: A kid (again…) that loves horses goes off to Mexico (Cormac pattern here…). Hooks up w/buddy and one bad ‘un. Gets in some trouble. Gets work, falls in love with rich girl (of course) who (of course) loves him back (why we never know…no romantic development). Lovely descriptions, not so bad run-ons (see Blood Meridian if you want horrific use of run-ons). Kid gets in serious trouble, almost dies, gets paid off to leave girl alone. Goes after his horses, which nearly gets him killed. Deus Ex machina several instances. At the end, he rides off into sunset. Really. It’s a lot of reading to set an atmosphere and I think that’s what McCarthy is after (as his plotting is minimal and characterizations unchanging): setting a longing for a time that never was (for most of us).
Some notable quotes (CM likes to go deep): “it was good that God kept the truths of life from the young as they were starting out or else they’d have no heart to start at all.” Cheery, as is his wont. He gets a bit less depressing with this gem: “That all courage was a form of constancy. That it was always himself that the coward abandoned first. After this all other betrayals came easily.” Still, he has a talent for taking a positive characteristic, in this case courage, and viewing it from the negative.
And sometimes he’s surprisingly mundane: “In history there are no control groups.”
Also, he is REALLY into horses: “The horse had a good natural gait and as he rode he talked to it and told it things about the world that were true in his experience and he told it things he thought could be true to see how they would sound if they were said. He told the horse why he liked it and why he’d chosen it to be his horse and he said that he would allow no harm to come to it.” CM could have called this the Horse Whisperer.
All in all, it kept me interested, though at times frustrated at dearth of character development. His style does not delve extensively into their self-reflection. Their motivations speak through their actions and in the dialogue (which is minimal, in truth). In this book, McCarthy does lay foundations, such as the protagonist’s relationship with his father, his family’s ranch (which he loses), his way of life and even the ranch hands he grew up with. But I really do not see him tie them together into a coherent whole that motivate the character. Sometimes the protagonist seems to do things because the plot requires them and I don’t buy it.As I said above, Deus Ex Machina raises it’s head several times. And there is some Mary Sue here as well. I really do not see how a sixteen year old would have amassed the life wisdom to pull himself out of all those scrapes. These issues keep this book out of my 5-star camp. Still, it’s a good book and worth reading.
McCarthy is duly famous and you hear his work bandied around by serious readers which I suppose I was once, though I don’t have the patience to plough through heavy philosophy any more. That’s where McCarthy is going, but philosophy steeped in Western ethos and smells – and especially horse-thought. Yes, I said horse-thought. He gets really into horses. I’ve read two of his works in quick succession.
Blood Meridian. I started with as this is McCarthy’s first ‘notable’ work according to Wikipedia. This is a bit tongue in cheek, but really…Blood Meridian can be summarized as tedious and pretentious, if sometimes gorgeous. I usually do not recount plots in my book reviews but this one really begs me to for its ridiculousness. Also, the plot hews to the essence of this review, as it is tedious: A guy (‘kid’ – yes, really, you never get to know his name) hooks up w/ bad people, rides into Mexico. They see Apache slaughter people, so they slaughter people. The gang gets to a town, promise to kill bad guys, go out and kill the people they are meant to protect. Rinse and repeat. At the end the kid runs into someone he rode with who was odd, is still odd, who kills him in an outhouse. Nice. No discernible character development. Super detailed descriptions of the Southwest but brutal run-on sentences for days. Pretentious in concept as well as vocabulary. The author fell into a thesaurus. Should have been a short story! Would have been great.
Some really obscure word choices: pyrolatrous, spanceled, preterite, holothurians. Amazing. He really had me running for the dictionary, and for no really good reason.
I noted that though descriptions are his high point, McCarthy’s descriptions are mostly horrible: “The mummied corpse hung from the crosstree with its mouth gaped in a raw hole, a thing of leather and bone scoured by the pumice winds off the lake and the pale tree of the ribs showing through the scraps of hide that hung from the breast.”
Example Run-on: “They saw the governor himself erect and formal within his silkmullioned sulky clatter forth from the double doors of the palace courtyard and they saw one day a pack of vicious looking humans mounted on unshod indian ponies riding half drunk through the streets, bearded, barbarous, clad in the skins of animals stitched up with thews and armed with weapons of every description, revolvers of enormous weight and bowieknives the size of claymores and short twobarreled rifles with bores you could stick your thumbs in and the trappings of their horses fashioned out of human skin and their bridles woven up from human hair and decorated with human teeth and the riders wearing scapulars or necklaces of dried and blackened human ears and the horses raw looking and wild in the eye and their teeth bared like feral dogs and riding also in the company a number of halfnaked savages reeling in the saddle, dangerous, filthy, brutal, the whole like a visitation from some heathen land where they and others like them fed on human flesh.” There were lots of these monstrosities.
Bottom line: Read for the horror and gore. Makes his later works seem more approachable.
I need to preface this review with a level set on the target demographic, which in this case, is the female reader who is comfortable with her feminine character being a hard-charging hero who still capable of nurturing and love. Because that’s Lexi.
This is definitely a genre-crosser: dominantly thriller (cloak and dagger escapade and tension) with a strong female lead, with a generous dollop of paranormal and a healthy thread of romance. I was getting the latter part as soon as the romantic entanglement was introduced and the MC (first-person) started describing that guy. Definitely ‘female gaze’ oriented. Which is fine — I have read a few full-strength romance novels to get an idea what the Romance genre is about (those *sell*, so are worth studying!) and in this case, the romantic angle is worked in very delicately. But not my first pick in a theme for my books. Ah well, reading about all those ripped abs and powerful arms might inspire me to get more strength training done… 🙂
Characters are delivered with enough detail to stand up and are humanized well. It is a bit weird that a dominant character in the beginning (Dave) does not show up again after the middle of the book, as he seemed quite instrumental to get the story going. Other than that, no anomalies; just the right amount of people to give the story texture without requiring a scorecard.
This first-of-three novella dives straight into the deep end, immersing the reader in a different time for Earth (pre-WWII Spain) and a different (paranormal) social structure, with politics, power grabs, and factions which use heavy-handed, even brutal tactics against even their own allies. Frohock gets the majority of this scene-setting done in the first two chapters, which is remarkable, as by this time the plot is in full swing, the MC is under pressure to rescue his lover and at the same time, frustrated by his own history tripping him up both directly (in the form of a secret which now must be revealed) and and indirectly (via another person who will be dear to him and presumably traded off the other).
To achieve this rapid immersion, the author uses third-person in classic epic fantasy style, with a lot of narration and direct description. This is a fell tale being told in the darkened greatroom of an ancient mansion, not a light story being recounted over coffee at a sunny coffee shop. The description is heavy in the beginning, where the mood is set. It’s a lot of mood and I can see the rationale – to pull off the plot and supernatural element, you need to have a setting suitably dark, misty, and full of portent. Upside — the descriptions are woven into the action, the story always moves forward. Along with a tensely-constructed challenge for the MC, we get some strange characters with otherworldly abilities and some nicely contained magic. No arbitrary Harry Potter stuff, nothing indiscriminate. Everything counts.
By the end of chapter 3, the heavy lifting is done, the train is out of the station* and gaining speed. Frohock gently presses the accelerator through the next section, and things get seriously weird as the caper is pulled off, to great cost to the main character…no Mary Sues here, there is a cost to every gambit and these characters do pay. The story closes with a denounment which is the setup for the next installment of Los Nefilim, and the author foreshadows challenges to come. I’m looking forward to the next story as we’ve got a ton of worldbuilding out of the way in this story.
Whisky suggestion: Lagavulin 16.