Shadow's End (a book review post)

This is the third Tepper book I've read, and I'm beginning to sense a pattern. A pattern not in the stories themselves but in the themes. Of course, this is only the third book of hers I've read, so I could be completely wrong and what I'm picking up on could be isolated to only these three books (well, probably not just these three, because there are still two more books in the series with Grass, and I suspect the themes from the first book will carry into the other two); however, until proven otherwise, I'm going to go with these as common themes throughout her books:

• Questioning women's traditional place in society and, through that, man's function in the world.
• Telepathy. (Which seems weird to me but each of the three books I've read have had some sort of telepathy/empathy as a major thread in the story.)
• Metamorphosis. (Which wasn't present explicitly in The Gate to Women's Country, but a case could be made for a metamorphosis metaphor in that book.)

Actually, let's throw in a fourth: apocalypse. Each book has dealt in some way with some sort of apocalyptic happening.

Shadow's End has an interesting perspective. It's a third person story told via first person much like, say, the Sherlock Holmes stories are told by Watson. This used to be a pretty common way to tell a story (see also The Strange Case of Dr. Jekyll and Mr. Hyde and Moby Dick among others), but we moved away from that as a society throughout the 20th century until, now, it's hardly ever used at all. It's a style that I like and find much more appealing than the glut of straightforward 1st person stories coming out over the last couple of decades.

The person telling the story tends to be someone who is mostly an observer, rarely taking direct action in the plot, as is the case in this book with Saluez. This allows a much more nuanced telling of the story, as you get, also, the perspective of the person narrating. I think it provides a much more flexible method of telling a story.

One of the ideas explored in this book is that of invisible people. I don't mean invisible people; I mean people who go about unseen. Saluez is one of these people, which makes her role of observer/narrator work quite well. There is a parallel here to, say, the maids at hotels being invisible people. I'm sure it's not an accident.

I really enjoyed the beginning of this book; well, I enjoyed most of this book. The exploration of the Dinadhi people was really quite fascinating, and the book pulled me along as the story progressed. However, I was not fond of the ending, about the last 10% of the book. I don't really know much about Tepper other than that she started writing after she had retired from whatever it was she had done all of her life and that I've read three of her books. So, not knowing anything about the way she wrote, this books feels as if she wrote herself into a place that she didn't know how to get out of.

I don't know; maybe, she's like me and pretty much knows the ending before she starts writing the story, which would mean the ending was what she had in mind from the beginning, but it didn't feel that way. And it's not that the end is bad or anything; it was just... unsatisfying.

It's not enough to dissuade me from recommending the book, though; it's just not the Tepper book I would say you should start with if you're going to check out her books. Go get yourself a copy of The Gate to Women's Country and give it a read.

"From Beyond" (a book review post)

First, yes, I am still working my way through these; I just haven't read any in a couple of months. The one thing I'm discovering about Lovecraft is that all of his stories are only of a few varieties. Over time, it makes them all blur together. The break was not purposeful; it was because every time I opened the book I found I didn't feel like reading Lovecraft at that moment, knowing exactly what to expect. I don't know if it was having had a break from him or if this was a better story than the average, but I enjoyed this one more than the last few that I read (ones I didn't bother to review individually because of a lack of things to say about them).

"From Beyond" has a slight twist on most of the stories I've read by Lovecraft so far while still having the same basic foundation. It's a story about a man, Crawford Tillinghast, who has developed a way to see the hidden worlds all around us. In this, it is very similar to most other Lovecraft stories but, in execution, it is most like "The Terrible Old Man."

This is not a new thought for me, but it's one I don't believe I've stated before in any of the Lovecraft reviews I've done:
Lovecraft seems to owe a lot to Robert Louis Stevenson and his Strange Case of Dr. Jekyll and Mr. Hyde. Not that I know that Lovecraft read Stevenson, but I find it difficult to imagine that he would not have considering the similarities between the two authors in their physical conditions (both sickly) and the similarity in style of most of Lovecraft's short stories to Jekyll & Hyde. That style being an unnamed narrator telling a story about a friend suffering the consequences of, usually, some sort of insatiable curiosity. This one, "From Beyond," is closer to Jekyll & Hyde than most.

Back in the early 90s, there was a comic book, Dark Dominion, which dealt with the idea that there was a world of demons that overlapped our own. One man, Michael Alexander, was able to see these demons as they coexisted with us. It was a darkly interesting idea that ended way too soon. I don't know if Jim Shooter, the creator of the series, read Lovecraft, but you can see those same ideas in "From Beyond." I don't know of anyone earlier than Lovecraft writing about these kinds of things in this kind of way. This is not the only of Lovecraft's stories dealing with this idea, but this is the most direct, at least so far. It's short enough that I'm willing to say you should just read it.