Stieg Larsson: The Girl With the Dragon Tattoo (2005)

Translated: Reg Ketland (2008)
Edition: MacLehose Press, 2008

The central character of The Girl With the Dragon Tattoo, Mikael Blomkvist, is an investigative financial journalist who publishes a well-regarded magazine, Millennium. After its latest exposé of a corrupt businessman, he is sued for libel, and, abandoned by his sources, loses, leaving his career and reputation in ruins. But then he is offered a job by another well-known Swedish businessman, to spend a year writing a history of his family and their firm while really working on the mystery which has obsessed Henrik Vanger for forty years. In 1966, Vanger's great niece went missing, and he has mysteriously received a flower each anniversary of the disappearance.

Almost as important is the character who provides the title of the novel. Lisbeth Salander is in her twenties, but not permitted a full adult life by the Swedish state after her refusal to interact with the world around her as a child led to her institutionalisation as mentally deficient. Yet give her a problem which interests her, and she works obsessively on it, which combines with a photographic memory to make her a great investigator.

The Girl With the Dragon Tattoo is a gripping novel of investigation into the pastt of a fascinating but awful family, most of whom are nasty pieces of work, many of whom hate most of the others, who were heavily involved with Sweden's Nazi party, which includes drunks and hermits as well as obsessives. But it is actually the characters of Blomkvist and Salander which are the focus of the novel, and their strengths and shortcomings give a depth to it beyond that of most thrillers. It is also quite academic, as the action is mostly in the discoveries made about the past, but that doesn't stop the story being exciting. The background of the author as a financial investigative journalist similar to that of Blomkvist is clear not just from the verisimilitude of the setting, but from the style of writing, even in translation.

A few years ago, there was a short space of time during which I read several great fantasy novels. This year, it seems to be the same with literary thrillers translated from Swedish. But this novel, and its successors in the Millennium trilogy, have made it to English a great deal quicker than The Gentlemen. Cynically, this seems to me to be at least partly because the story of their production - delivered to a publisher by a respected financial journalist who died before publication - gives an added marketing hook to the novels.

This is an excellent translation of an excellent novel, and I look forward to reading the remainder of the Millennium trilogy. My rating - 9/10.

Titus Maccius Plautus: The Pot of Gold and Other Plays

Contains: Aulularia (The Pot of Gold), Menaechmi (The Brothers Menaechmus), Captivi (The Prisoners), Miles gloriosus (The Swaggering Soldier), and Pseudolus
Edition: Penguin, 1965
Translated: E.F. Watling, 1965

What makes a "perfect comedy"? The German critic Gotthold Ephraim Lessing described one of the plays in this volume, Captivi (The Prisoners) as such, but it is unlikely to be an answer that would occur to many people asked this question today. Even if the field is restricted to stage comedies on the grounds that Lessing lived before the invention of moving pictures (ruling out such contenders as Some Like it Hot and Fawlty Towers), there are many plays which are funnier. Among my favourites, I might suggest Aristophanes' Frogs , Wilde's The Importance of Being Earnest, Stoppard's Rosencrantz and Guildenstern are Dead, Orton's Loot, Frayn's Noises Off. My father would have suggested farces by Feydeau or Labiche, I'm sure.

To Lessing, of course, the word "comedy" didn't just mean an amusing drama; it was a more technical term, describing a play with particular components and attributes. But even so, Captivi is an odd choice, as Watling points out in his introduction: for example, the real world geography of the Greek setting makes it virtually impossible for the action of the play to take place in one day, a requirement applied to drama by critics of the time, based on Aristotle's ideas in the Poetics. So why choose this one? Again, Watling makes a sensible suggestion, that the real issue is that the play does not have aspects which Lessing apparently viewed as distasteful in ancient literature (and particularly in the texts which could be used to teach in schools). In particular, there's no sexual content to the play, which is very unusual in ancient comedy, the surviving examples of which usually at least include bawdy jokes. Until fairly recently, there were still versions of Aristophanes which translated passages which were particularly rude into Latin, rather than into English which could be read by the uneducated, considered to have minds corruptible by such things. Instead, Captivi is about the ties between father and son (together with the mistaken identities which occur in almost every plot used by Plautus).

And Captivi is not even the best known of the five plays in the volume. Two of the others served as the inspiration for extremely famous later comedies. Shakespeare's The Comedy of Errors is based on Menaechmi but takes the plot a step further by adding a second pair of twin brothers, increasing the potential for comic confusion at the risk of making belief in the actions on stage harder. Shakespeare may well be the greatest dramatist who ever lived, but this is an early play, and not one of his best; it has the air of an exercise rather than a drama involving characters based on human beings. On the other hand, Aulularia, the title play in this collection, inspired L'Avare by Molière, one of the greatest works by a great writer in his prime. Like Shakespeare, Molière added more to the plot, which to me suggests something of why Plautus is not as well known today as he used to be. My understanding is that these plays were produced as diversions during festivals - effectively another sideshow - so were not as long and or complex as Greek plays (which were the main attractions of the festivals they appeared were written for) or later plays which were the centrepiece of an evening's entertainment. The plays are short, one theme (almost one joke) affairs, without the subplots and subtlety we have come to expect from a full length three act drama in today's theatre. Perhaps it would be better to compare Plautus' output with one act comedies, like Shaffer's Black Comedy, but they are more like individual episodes from The Simpsons than anything produced for the stage now. Indeed, there are several parallels with the way that the animated sitcom works: plots as variations on standard themes; exaggerated everyman character; improbable events; and a happy ending.

Captivi is also not the funniest or cleverest play in this collection. The final pair here, Miles gloriosus and Pseudolus, are the best Plautus plays I have read. In both, the characters rise at least a little above the stereotypes, the jokes remain funny, and a little bit more length allows some extra complexity. These two are probably the place to start, if Shakespeare and Molière give you and interest in theirt sources of inspiration. (Not the ultimate source, because Plautus took most of his ideas from Greek originals, now mostly lost, but the closest you can get.)

The introduction to this collection states that these translations were made for use on the stage. Now, Penguin Classics translations of drama don't usually have that as their main aim; they are aimed at tthe reader, not the performer and tend to concentrate on being an accurate (if not word for word) translation of the best available edition of the original text. The Penguin Ibsen translations are obviously like this, if compared with the work of Michael Meyer or my father (among others). So, is this collection of Plautus plays an exception, or was Watling mistaken? There are certainly livelier translations of Plautus, while these are in turn livelier than some of the Penguin Classics drama that was published around the same time. I'm not so sure they would work so well on the stage; perhaps they would be good as a dramatised excerpt to liven up an academic seminar, but that isn't quite the same thing. But then I've never found Plautus as enjoyable as the more complex comedies listed at the start of this review, in any translation. There are problems with details. Some of the jokes could be better translated; there must be a better pun to describe cooks who are scoundrels than "rapscullions", for example. I'd give thee plays 6/10, and the translations, also now rather dated, 5/10.

Charles Stross: Accelerando (2005)

Edition: Orbit, 2006

I first read Accelerando soon after it came out, but, although I found it fascinating, I wasn't able to put together a review. It's an incredibly ambitious novel, describing one potential fate of the human race: it aims to be as iconic a part of the science fiction genre as Neuromancer or Snow Crash. The novel is very much in their tradition of speculation about the interaction between computers, human minds, and the universe.


Accelerando follows three main characters, Manfred Macx and his daughter Amber, then her child Sirhan (not forgetting their cat, the most intelligent of all of them) as they explore the developments in computing which Stross suggests will occur during the twenty-first century and beyond. These begin with spectacles which provide a virtual reality overlay on the real world, to implanted computers and networked enhancements to memory and cognition, to the conversion of the solar system itself into a giant molecular computer, in which uploaded post-humans live in simulations. Manfred is pretty recognisable, just beyond the edge of the way that many people live now, with some interesting technological toys and a radical lifestyle (spent registering patents that he makes available for free use and living off favours from those who benefit from them). Amber is stranger, as most of her story takes place as a simulation on a tiny space ship/computer where she is empress over a virtual court based on fifteenth century France. Sirhan is an adolescent who experienced multiple simulated lifetimes as his education yet has not so far decided which gender to be.

While the themes are similar to those explored by Gibson and Stephenson, being a future based on the technology available at the time of writing, I suspect that Accelerando will not prove as influential. Both Neuromancer and Snow Crash proved self-fulfilling prophecies, Neuromancer inspiring developers of the Web and Snow Crash developers of virtual reality environments such as Second Life, the accuracy of their predictions coming as much from this as from authorial prescience. Both novels take place over a fairly short internal timescale, a few weeks during which the IT environment remains effectively static, and this means that they can really serve as models for developers to emulate. Accelerando, as its title indicates, is about the process of change, and this means that the worlds described in it are a moving target, and there is far less space for Stross to go into evocative details.

Apart from the IT, all three books have other things in common. Most obvious is that they all portray the current political realities based around nation states as effectively obsolete. This seemed very far fetched in the mid-eighties, when I first read Neuromancer's suggestion that corporate entities would be the main powers in the world (rather than running things from behind the scene, as has been suggested happened in Bush's America). Stross's post-capitalist world seems more likely now than it did when I first read Accelerando, before the credit crunch. The short sightedness of financial institutions and the consequent loss of trust by their customers, combined with a fairly clear and longstanding inability of governments to understand, legislate and innovate for the Internet seems to me to make the sort of changes that are the background to this novel not just possible but likely. Snow Crash, where the Mafia deliver pizza and Federal organisations are just an embarrassment is obviously satirical and not very likely in the real world; Stross's idea that the Russian Mafia enforce music copyright is less extreme while still satirical.

Any novel which covers three generations is ambitious, and Accelerando also describes a possible ultimate fate of the human race. From a futurological point of view, some aspects are questionable. The timetable, for example, depends on Moore's Law continuing to hold well into the future: it is not a natural law, just an observation, and depends on increasingly fast technological innovation which seems unlikely (at least in the current economic climate). The scenarios which are described in the novel are mostly well known speculation (in particular by Frank Tipler, who is indirectly mentioned through the "Tiplerite" religion, dedicated to bringing about his vision). Stross may well be the first science fiction author to produce a novel which centres around these ideas to this extent: novels dealing with the final destiny of humanity are surprisingly rare in science fiction, except when treated as satire. Accelerando does suffer from one of the major problems of science fiction which deals with big themes: when you have beings who are vastly more intelligent than any human (including the author and his readers), how is it possible to make their actions comprehensible? Stross does this mainly by keeping his narrative centred on those who remain close to baseline human, who stay recognisable to us, even if strange. (I'm not sure the people depicted at the end are quite strange enough, given how different they are to us; they should be more difficult for us to understand than our culture would be to someone from the nineteenth century, and I don't think that they are.)

Accelerando is fairly effective, and manages to remain sufficiently straightforward to be readable right to the end, despite the proliferation of virtual copies, clones and a wide variety of types of post-human with far greater intelligence than those who choose to remain principally flesh and blood, no matter how augmented. There are some lapses of judgement, such as the sudden adoption of an arch tone at the start of the final section. There is perhaps too much explanatory material. Each chapter has a section summarising the present situation, basically a summary of IT developments during a decade of the twenty first century. There is a lengthy, but amusing, FAQ for newly resurrected individuals given in full and taking several pages. And I always find a novel written in the present tense to be constantly mildly irritating. But, considering its ambition, Accelerando is very successful - 8/10.

Michael Chabon: The Yiddish Policemen's Union (2007)

Edition: Fourth Estate, 2007

Alaskan detective Meyer Landsman is a mess, and the country he lives in is a mess. Following the destruction of the fledgling state of Israel by its neighbours in 1948, the southern part of Alaska, around the town of Sitka, is opened up for Jewish settlement by the American government. Now, after sixty years, the federal lease is about to come to an end, and no one knows what is going to happen when it does. When Landsman's marriage breaks up, he moves into a sleazy Sitka hotel, to drink himself to death. A bad day starts when the hotel manager wakes him up because the man in the next room is dead, not from the expected heroin overdose but because he has been shot, execution style. Then Landsman discovers that his ex-wife, also a police officer, is now his boss, and that the corpse is the missing son of the head of an extreme Orthodox sect, before being ordered off the case. In true "maverick cop" style, this just makes him work harder, to find out who doesn't want him to discover the killer, and why.

Chabon's alternate history is interesting, and reasonably believable. I could easily imagine Israel destroyed in 1948, and with a little more effort the choice of Alaska - not then a state of the USA - as an alternative Jewish land makes sense: the territory was under the control of an American federal government sympathetic to the post-war plight of the Jews, and it was not already heavily populated. The sett up feels as though it should be making the ingredients of a farce, butt the novel is not humorous, apart from the odd one-liner and the exaggeration of the maverick stereotype in Landsman: this is not Woody Allen. For a novel which is described as "a homage to 1940s noir", I'd really expect more sharpness.


The Yiddish Policemen's Union is a novel I really expected to enjoy. Other people thought it was really good, I'd enjoyed The Amazing Adventures of Kavalier and Clay by the same author, and felt that the idea behind the story would make an interesting setting. But in the event I found it heavy going. The depression of the protagonist, the desperate sense of impending doom over the Jews of Sitka, and the nastiness of many of the other characters are all contributing factors, making it hard to enjoy reading the novel. This is not necessarily a reason for not reading, and The Yiddish Policemen's Union is not the first or the most depressing book I have read, by a long shot. The suggestions for why it is hard going could equally well be said of 1984, though the theme of rebellion against authority there works better at holding the reader's interest - Winston is not as clichéd a character as Landsman. Perhaps Chabon just struck a chord with me, though I can't see what it would be. I am not, after all, a Jewish policeman investigating the murder of a heroin addict.

Often a book which is difficult to read providers other pleasures, but although it is undoubtedly well written, I did not really feel that I gained much from The Yiddish Policemen's Union. Perhaps if more had been made of the chess playing metaphor, or there had been more humour, I would have enjoyed it more. In the end, I would personally rate The Yiddish Policemen's Union at 6/10.

Sylvia Brownrigg: Morality Tale (2008)

Edition: Picador, 2008

If someone divorces their spouse in order to get together with you, then you are expected to be happy about it. But one of the problems with divorce is that the old relationship is going to be a part of your new life, likely source of bitterness that could poison every aspect of being together, supposedly the big bonus to the change. The nameless narrator of Brownrigg's short novel Morality Tale is in that position, as a second wife and stepmother. Her life and her marriage are not what she expected them to be; her husband has changed, stressed and irritable, ground down by ceaseless demands from his ex-wife. Then she meets a man who seems to be a kindred spirit, the new representative of the company which supplies envelopes to the stationery store where she works in San Francisco.

Marriages are complicated things, where outsiders don't know enough to understand the dynamics properly while the insiders are too close, often unable to see the wood for the trees. It is not surprising that unhappy marriages have been a staple of literature at least as far back as the ancient Greeks. - Agammemnon and Clytemnestra, Jason and Medea, or even Zeus and Hera. (And I will refrain from quoting Tolstoy.) Morality Tale is firmly in the tradition of novels analysing problems in a relationship, with the twist that it is the previous relationship which is causing the strain. The novel could be described as one which is about the relationship between two relationships - and potentially a third, and the problems in her marriage lead the narrator to consider starting again with another man. Although she doesn't make the connection, the descriptions she gives makes it clear that the narrator thinks that Richard is like her husband when they first met, which shows something about her, or her taste in men, which she doesn't even appear to realise - a clever touch.

In Brownrigg's earlier novels, the protagonists have been intellectuals: a philosopher, a student, and a psychiatrist. The narrator here is a much more normal person, with no university education, working as a shop assistant. Occasionally, this doesn't quite ring true, but generally Brownrigg's portrayal is convincing. In fact, the slight inconsistencies in the narrator's self-portrayal are probably deliberate parts of the author's artistry, suggesting that there is more going on in the story than is apparent in the surface, that the storyteller is not the naive innocent she makes herself out to be. Even so, being narrator strongly loads the dice in her favour: the most sceptical reader will still find themselves blaming her husband for making her unhappy, rather than feeling that she is at fault for starting a romance with another man who calls her his angel. Only on reflection do you start to wonder about the way the husband is portrayed, a combination of neglect and rampant jealousy, as well as the changes after the marriage due to stress. Even those of us who do not work as marriage counselors know that problems in a marriage tend to have faults on both sides; it's one reason why they are such complex relationships. Viewed from a different angle, the narrator has destroyed one marriage - her husband left his former wife when he met her - and now wants to move on to someone else after she realises that the marriage is less than perfect.

There is obviously a reason for naming the novel Morality Tale, but it is not obvious on the surface. Taken literally, it would suggest that the various characters are allegorical virtues and vices, as in the medieval morality plays, and this doesn't seem to happen. There is a parallel between the plot and the usual plots of these plays: in tte plays, the protagonist often meets the vices, who tempt him from the paths of virtue; in the novel, Richard tempts the narrator to leave her marriage. However, the division between virtue and vice is not as clear cut in the novel, particularly given the doubts over the self-knowledge of the narrator. Brownrigg obviously wants the reader to think about what might have caused the problems in the marriage, and I suspect the point is that novels are about people, morality tales about allegorical beings, and the latter are by their nature one dimensional; but that does not prevent morality being discussed through the medium of the novel.

Brownrigg is a writer I really like, and I enjoyed Morality Tale while thinking it the least of her novels so far. Even so, there is a lot more to the novel than the surface might suggest, and I'd rate it at 7/10.

List of literature resources

Here is a short list of links to literature-related sites on the Internet. (A quick update 12 Mar 2009 removing dead links and adding a couple of new ones.)

Archives

• Bartleby Library
• The Online Books Page
• Project Gutenburg
• The Internet Classics Archive

Books

• Fantastic Fiction, information about series, forthcoming books, authors etc.
• Shmoop!, resource to make learning and writing more fun and relevant for students in the digital age

Bookshops

• ABE Books (secondhand)
• Amazon
• Blackwell's Bookshops (academic)

Miscellaneous

• Jane Austen Info Page
• Confessions of an Opium-Eater, by Thomas de Quincy
• Myths and Legends
• Poems by Emily Dickinson
• Shakespeare Homepage

Science Fiction and Fantasy

• The SFSite (reviews)

Writing

• The Elements of Style
• OneLook Dictionaries
• THE SLOT: A Spot for Copy Editors

Gerald Hammond: The Dirty Dollar (2002)

Edition: Severn House, 2002

Despite earning an engineering degree, Jill Allbright is unable to get a job in the chauvinistic oil industry, except as a cleaner in the offices of an Aberdeen subsidiary of a US oil firm. While working in the executive offices in the middle of the night, Jill answers an insistently ringing phone, and is told by the billionaire owner of the company in Florida that she will need to sort out a crisis: a strike at a depot has been called to coincide with a major delivery of pipes. She organises storage with local farms, and as a reward is taken on as a troubleshooter. The British division of the company isn't doing as well as the Americans think it should be, and they want to know if this is incompetence, or sabotage by a rival firm. So Jill is thrust into a difficult and potentially dangerous role, but with the added problems of being a woman in a man's world, being viewed as a spy for the company's owners and a symbol of a lack of trust toward the local management - not to mention antagonism from those who might be shown to be incompetent or corrupt.

The Dirty Dollar is a quirky, enjoyable thriller (even if it could have a more apposite title without too much difficulty). It is well written, though without pretensions to being anything other than what it is. Even though I like the more complex literary novels too, sometimes I just want something to relax with. Jill is a good central character, and is almost one of those onmi-competent heroes found in old fashioned thrillers, except for the diffidence brought on by the rejection she has experienced from chauvinistic oilmen.

At the same time, Hammond has produced something a little different from the well worn (even if less used in recent years) formula of a heroic thriller. The tone may seem to come straight from the thirties, but having a woman as a hero makes The Dirty Dollar very different from the thrillers of that time - even Patricia Holm was just a sidekick to the Saint. Even today, it is still a little unusual in a thriller. Hammond's writing has a light, insouciant touch, to me reminiscent of Leslie Charteris at his best. This is also evident in the other novel by the author that I have read, Grail for Sale. So it is clearly not an isolated example, and suggests that others from his dozens of novels would provide similar enjoyment.

I would rate The DIrty Dollar at 8/10.