The Absolute Book by Elizabeth Knox - this is a contemporary-set fantasy, highly praised by mainstream critics for reasons that escape me. It starts well enough, with the protagonist, Taryn the historian, arranging the revenge killing of her sister's murderer. The police get suspicious. Mysterious things start happening, and then Taryn and detective Jacob literally stumble into fairlyland, and the book goes downhill.
There's a distinct lack of wtf-ing when they discover fairyland, which is indicative of how bad the character writing is. The dialogue is the stiffest I've read. Every time a character opens their mouth, it took me out of the novel because I couldn't believe this was a person talking. This is a a quote of Jacob talking while in mortal danger:
Quote:
I tried talking to him, as a cop to a misunderstood and misled perpetrator... He's a man of few words who doesn't like to open his mouth unless he's put the person he's talking to in a position where they won't talk back.
He goes on for much longer. He is a cop about to die, but sounds like a university professor delivering a lecture. At another point, Jacob says:
Quote:
now that the situation has arisen, I'm behaving in line with atavistic conditioning concerning gods?
Again, this is meant to be a policeman having a conversation. I found it impossible to care about anyone as they weren't credible people.
I said the reasons for the praise eluded me, but re-reading the Guardian review, I get it:
Quote:
The Absolute Book is a 21st-century narrative whose social and political ills (Brexit, rightwing populism, climate catastrophe) are not simply topical background but central concerns.
Hit the leftist high notes and you score big with some critics, no matter how heavy handed your approach. The book's ending devolves into a ridiculously clumsy vision of a greener, less capitalist world. I'm in danger of sounding like a right-wing loon, but it's the approach which is objectionable, not the message.
Last edited by Rooksx; 09-04-2024 at 10:41 PM.