Jack Finney: Time and Again (1970)

Edition: Gollancz, 2001
Review number: 1152

Because of the famous film, Finney is best known for (Invasion of) The Body Snatchers, but he wrote a dozen or so novels over about four decades; Time and Again is probably the next most famous. It is still, after thirty years, a time travel novel with many differences from the ideas on the subject which have become commonplace in the science fiction genre, and thus it remains worth reading for any fan despite its obvious flaws.

Si Morley is an artist, but feels as though his current job in advertising (drawing bars of soap) is a dead end. So he is interested when approached by a stranger with an interesting proposition - how would he like to become involved in a government project so secret that Si can't even be told what it is about until he joins it?

The secret is, of course, time travel. The discovery has been made that position in time is a subjective thing, that it is the knowledge we have of past events that determines when the present is. (For example, knowing that Kennedy was assassinated places the present after 1963, knowing I'm 34 means it's 2003.) The point of this is that by appropriate training and self hypnosis time travel becomes possible; if you can forget everything which happened after a particular date and will yourself into the mindset of a person of that time, then suddenly that date becomes the present for you. Si uses this method to travel to the New York of the early 1880s, before the skyscraper, before the automobile. There, he investigates a minor (invented) historical mystery, and is strongly attracted to a young woman of the time.

There seem to me to be serious flaws in the premise by which this method of time travel is supposed to work, starting with the philosophical one that it makes the fundamental nature of time simultaneously subjective and objective - position in time depends on our knowledge of events, and yet the relative orderings of these events is given by their position in time, which is determined by what? Even if we allow the passage of time to be subjective for a conscious being and yet objective for an unconscious object, it seems to me that it is impossible for such changes as are required for time travel to occur in our minds, particularly given our consciousness of alterations in our own bodies. A good example of this problem is that Si grows a beard to fit in to the male fashion of the 1880s, and surely he would have been unable to get away from realising that it was only a few weeks old.

More seriously, to travel in time leaves the traveller on a tight rope, surely to be bounced back as soon as any conscious thought of future events intrudes. For the sake of the plot, Finney must ignore this, so that Si is constantly aware of who he is and of the changes due to take place in the century he has travelled - he even makes a sketch showing how one of the streets will look. Finney is also self indulgent, in that he is unable to resist displaying some of the fruits of his research, which makes Time and Again seem in places like a guide book complete with photos and drawings.

Having catalogued some of the flaws, what are the strengths of this novel? The main one is that Finney conveys far more of how different the world of even the relatively recent past would seem to a time traveller; in its usual Wellesian, machine driven mode, time travel fiction is often very blase about how easy it is to fit in, and certainly about how little culture shock the traveller would suffer even from the details of their new environment. The open acknowledgement of two different times being involved gives Finney an advantage over the traditional historical novel, too; Si can comment on things in a way not possible outside the science fiction genre.

The two foci of the novel are the rapid pace of change since 1882 as exemplified by Si's reactions to nineteenth century New York, and the character of Si as narrator. Little room is left to flesh out the other characters, who are left as ciphers. The interest of the novel is rather along the lines of collections of old photographs of landmarks, as commonly seen filling up space in local papers; this lessens the impact of the novel for someone with no particular interest in New York.

Time and Again could be better, even if most of its flaws are integral to the way that Finney has set up his mechanism for time travel. It is, as I have said, of interest to aficionados, but is not really going to convert anyone not already interested in the science fiction genre.

Joseph Heller: Good as Gold (1979)

Edition: Black Swan, 1993 (Buy from Amazon)
Review number: 1151

Heller's third novel reads almost as though it were the book of a Woody Allen film. It is about the Jewish experience in the US in the late seventies, and contains much of the same kind of bitter sweet humour so common in Allen's work. Good as Gold centres around a second generation American Jew, Bruce Gold, who is entering middle age and who is desperate to be taken seriously - as a writer, as a family member (particularly by his irascible father and brother), as someone who could make a mark in the world. Most of the story is about his desperate pursuit of a job in Washington, once he hears that the President was impressed by one of his essays. The question is, how much of his principles and his life is he prepared to sacrifice?

It is pretty familiar ground, and much of Good as Gold now comes over as dated. It naturally received the standard Joseph Heller review: someone described it as "his best since Catch 22". Other novels since have taken that title, but Good as Good is still funny and occasionally disturbing as a portrait of a man becoming overwhelmed by ambition.

Tom Holland: Deliver Us From Evil (1997)

Edition: Warner, 1998
Review number: 1150

Deliver Us From Evil, a historical horror novel, starts at the end of the Cromwellian Commonwealth in England, just before the restoration of the monarchy and the reign of Charles II. Captain Foxe, an officer in the militia based at Salisbury, begins an investigation into a series of ritual murders at ancient monuments (the cathedral and Stonehenge are the best known), and becomes convinced that they are connected to strange events in his home village of Woodton. There, the manor house has been abandoned, as many are, by exiled supporters of the king; but in Woodton the gentry were rumoured to have been involved in black magic.

When Captain Foxe and his wife are killed by the evil he has been seeking out, his teenage son Robert begins a quest to gain revenge, to be able to face and destroy the evil power which has taken over the manor and possessed the villagers of Woodton. To this end, he spends the remainder of the book travelling through a Europe beginning to recover from the Thirty Years' War and to the American colonies, and spends much of his time in the company of 'blooddrinkers' (vampires).

Though Deliver Us From Evil could never be described as a conventional historical novel, it quite naturally needs to excel in many of the same ways that a member of that genre does - notably in terms of its background. It must feel accurate once the horror elements are removed (and it is helpful if even the supernatural side respects seventeenth century ideas on the subject). Deliver Us From Evil succeeds admirably in this respect, particularly in the way it uses well known people of the time (the Earl of Rochester and John Aubrey are particularly prominent).

As a horror novel, it lies squarely within the traditions of the vampire story, particular debts being owed to Bram Stoker and Anne Rice. Holland rings enough changes to make Deliver Us From Evil original within the tradition, and he is also occasionally much nastier than eithe Stoker or Rice (for example in the description of the anal rape of Robert Foxe by a demon wrhich ends part one). If you can cope with the nastiness, Deliver Us From Evil is a fascinating novel, well worth reading.