Shawn Rider

Although it is a bit superficial and hints at several interesting topics to dig more deeply into, Our Band is a compelling historical biography of the bands that made some of the most influential indie music of the 1980s. I knew all of these bands to some extent, some better than others, but learned new things about every one of them. Azerrad is not really looking to “ask the hard questions,” but he does mention details that could fill other books with history and interpretation. The arrangement of essays fits neatly into a timeline that allows Azerrad to make some observations about the core features and qualities of indie music. But this is a casual history, not a dissertation, so his insights about the indie movement and how it would evolve are kept to a minimum. This is probably for the best, since the book already tops out at a hefty size without a lot of additional commentary. I started out assuming I'd skip some of the less-interesting bands, but Azerrad made each one worth reading and illuminated details that let me understand the value each group played in forming the overall picture of indie music in the 1980s.

On a more personal level, it is fascinating and inspiring to read about bands that affected me in real-time during the era. It reminded me of how revolutionary those sounds were, and how important it is to keep creating no matter how limited your resources are.

It is impossible to convey the experience of reading The Book of Night Women. It is not an “easy” read, but it is compelling and difficult to put down, even when it is at its most repulsive. The reader should go in prepared to confront some dark events, but the reward is one of the best novels ever written.

James is a talented writer, and some of his hallmark qualities are on display in The Book of Night Women. He handles dialect like a master, never breaking or confusing dialect, but easily moving between formal and informal language when needed. The multiple points of view echo Seven Killings and even aspects of the Darkstar Trilogy. The brutality and cruelty of the world is also directly confronted, something any reader of James' novels will recognize. It is not exploitive, but it is certainly extreme.

Of course, the entire cultural context of the novel is extreme: colonial Jamaica was just as harrowing and complicated as any British colony. As one expects from a James novel, no character is all good, all bad, or indifferent. Each character is well-rounded, complex, and sympathetic. The protagonist, Lillith, experiences an emotional roller coaster similar to the reader. The actions, words, and whims of the characters are laced with double-meanings and deeper emotional content. Like Lillith, the reader is forced to recognize, or at least deal with, the humanity and inhumanity of everyone around her.

Like with many other James novels, Lillith is not entirely (or always) sympathetic. The book tells the story of her growing from adolescence to womanhood, and she goes through a petulant phase early on that lets the reader know they do not need to always agree with Lillith's words or actions. And as she learns to read more deeply the world around her, so does the reader learn to interpret the words of the novel.

The Book of Night Women is an achievement on par with Faulkner, Morrison, or Walker. It is epic not so much in the scope of its timeline, but in the depth of its exploration of the late colonial moment. It is a character study, a historical fiction, a romance, and a horror story – all at once. It is a novel that demands a large emotional investment from the reader, and repays that investment with a resonant experience that will linger long after the book is closed.

This was a childhood favorite that I have kept on the shelf all this time. I re-read it as part of the SPL Book Bingo challenge, and it did not disappoint. I can totally see why my younger self enjoyed this: It is smart, wry, and contains some solid action. I love the nerdy teen protagonist and the “bons vivants” aliens. It blends the vibe of a New England ghost story and a Science Fiction thriller. I am recommending this to my kids, who are now the right age to enjoy it.

I enjoyed the film-like approach to World War Z and was disappointed the actual movie didn't come out feeling as much like an independent documentary as the book. Here, the formula is tweaked and the narrative is built around a longer ongoing series of journal entries from a woman who experiences the freak attack of Sasquatches. This is sort-of supposed to be a secret (I think?) but also so obvious from the outset that it seems like it is trying to build suspense and fear in the open.

Overall the whole thing falls flat. The journal entries are intercut with other interviews and text fragments, which is something in common with World War Z. In this case, tho, these fragments are less engaging or informative.

The story is also hindered by pretty wooden characterization relying on a lot of contemporary stereotypes and dubious pop culture references. The prose is unimaginative. In the end, the whole thing is just kind of boring.

The Hollow Places is a fast, engaging read. It manages to bring together a very fun adventure with a modern prose style that keeps it light without veering too far into trendy. It warrants comparisons with Susanna Clarke's “Piranisi” – both books maintain a steady forward momentum that makes them read quickly and somewhat hides the larger themes of the novel behind constant activity. When Hollow Places does slow down, it delivers enough thoughtful consideration to justify the story and help cement themes of family, responsibility, friendship, and cosmic entanglement. I look forward to reading more from T. Kingfisher, and suggest this as a great vacation read.