Orson Scott Card – Children of the Mind

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‘Children’ is an appropriate word in the title. As for the ‘Mind’, not so much. Card’s finishes his quadrilogy – which started with two classics – on a ridiculous low. It’s not that the novel is bad, but that the flaws are brand new. Card succumbs to all the flaws he avoided when he first started.

Why did the two books split up? Considering how much Card had to say in Speaker for the Dead, it makes sense. His intelligence and complex philosophy still shines through. Instead of shining through storytelling, it’s one essay after another. Sometimes it’s inside the characters’ heads. Sometimes they ruminate and we get the whole thing, uncensored and unabridged. If this was part of a style, fine. It’s not. Rather, it’s a collection of notes – events, ruminations, extended dialogues that all should’ve been trimmed down.

The quadrilogy has philosophical weight, but in the end these novels aren’t pure philosophy. There is an engaging story beneath them about saving the world and what it means to be human. The constant ruminations are like a decent guitar solo extended for 10 minutes. One or two profound phrase is okay since it helps us focus on the themes. When there are whole paragraphs where nothing happens, that’s when you know the editors were dead.

If Card is so against destroying other species, why are the editors extinct? This is a flaw I encounter a lot when reading works by unpublished writers. They’re confused, not sure entirely what their story is about and afraid the audience won’t get them. The fear is justified considering how everyone loved Fight Club for the wrong reasons. So they fill their stories with character thoughts and speculations.

When I get these stories fresh from the oven, I don’t mind. Nobody has gone over them to trim the unnecessary stuff and what should remain as notes. A story doesn’t come fully formed from our minds. We must write it down, see how it looks like on paper and then play around with the pieces. You don’t really know how your story works until you actually write it down. If I read a story where half of it is notes the author should’ve kept to himself, that’s fine. They needed to write this to get the information out of their heads, to acknowledge it exists.

When I read a story filled with notes by a published author, I get angry. Card doesn’t show ideas. He doesn’t even let characters’ personalities filter them. Philosophies are the main characters now. The novel is filled with philosophical conversations and ruminations, and it’s all so disconnected from the story.

Philosophical essays contain ideas, but fiction is how we imagine them taking from. We need literature because that’s how we imagine the effect philosophies have on our live. I can write an essay about how everyone should have assisted suicide easily available for them, but through fiction I can imagine how such an idea might impact society.

The danger of piling philosophical conversations and ruminations in your novel is this. If they overpower the story, they lose connection. We no longer see the ideas in action, so we no longer see the importance. A good story doesn’t just give me insight into an idea, but makes me care about it. By having an emotionally engaging or thrilling story, I get emotionally invested and see the importance of the idea.

The philosophical conversations have no element of humanity in them. They rarely inform us about the characters or their big worldviews. Watching them is like watching a discussion on CMV-Reddit. You see the ideas isolated from a person dissected, analyzed and evolved. That’s fascinating, but that’s not a story. Moreover, CMV has an abundance of people. This novel written by one person. It’s really one long monologue in disguise, which is a shame. A monologue by a person – especially a talented writer like Card – could’ve been fascinating.

Children of the Mind isn’t an unrestrained novel. It’s a novel without purpose that jumps from topic to topic but in the end goes anywhere. We shouldn’t kill other people. We should try to understand people. Haven’t we heard this all before? Wasn’t it more convincing when characters were either morally grey, or when we saw the weight of heroism? The absence of Ender makes his character duller. Without him to show us the weight of his virtues, everyone just opens up a fanclub.

Everyone also acts like douchebags towards each other. Suddenly 21st-century internet lingo caught on and characters swear. Dirty words don’t offend me, but their sudden appearance is odd. Even more similar to stereotypical internet talk is how many dialogues go. So much belittling, being sarcastic and condescending you have to wonder why these people are doing with each other. Nothing actually happened between this novel and Xenocide, so when did everyone started swaggering like Tarantino?

The basic idea behind the ending couldn’t have been better. It ties the novel directly to the first one, but it’s still anticlimatic. Besides that tie to the first novel, nothing actually happened in that ending. The conflict was solved, events happened but no conclusions reached. The people of Lusitania may feel better and may be able to expand their colony, but I’m in the same place.

Children of the Mind gets by only because it’s a part of the Ender Saga. There are interesting ideas, but Card is trying hard to push himself when he ran out of things to say. It even lacks the occasional outrageous moment of Xenocide. That novel was empty, but you could trim it to a decent novella. A kind editor should’ve told Card that he’s writing a story, not a hodge-podge collection of conversations with self, ruminations and the occasional encounter with aliens. At least the first two books are constructed well enough they stand on their own.

2 children out of 5 minds

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Markus Zusak – The Book Thief

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Do we need another Holocaust story?

The Holocaust was horrible. I doubt anyone will argue otherwise. Even those who claim it was nothing special are redundant. No massacre was as systematic and well-organized as this. The Holocaust comes with built-in emotional appeals, so you can’t blame me for being skeptic about The Book Thief. The fact that it’s for Young Adults, became popular and is narrated by Death makes everything worse. It looks like something that aims for the heart strings. It will manipulate you with tragedy and then give you some easy answer.

Only it’s not what happens. This is more like Fault in Our Stars. It’s a novel that feels like the result of harrowing research. Zusak writes like he’s trying to cope with believing that the Age of Social Catastrophe really happened. It’s not about a Holocaust. It’s about trying to come to terms with how reality shifted since WWII.

It was a nightmare. The Nazis, Pol Pot, the Russian Communism, the War – it sounds like an extinction event. It must’ve shook everyone. How does civilization continue from such a devastating event?

Zusak creates a character whose own story could somehow encompass this mess. His protagonist isn’t a Jew or a slave in the Gulag. This would make his book too specific. She’s also not a person from the highest echelon of society, for whom death was a complete shocker. Liesel is somewhere in the middle. She knows what death is and she knows what happiness is. She doesn’t know what so much death is.

Zusak wants to prod into what grief is. He’s trying to come to terms with it and while the story doesn’t rely on ass-pulled happy endings, it’s less dark than Green’s famous novel about cancer. People die and bad stuff happens, but Zusak’s attempts at staying optimism aren’t convincing. They sound like denial of tragedy rather than confronting it.

Hans’ character is the worst bit. He’s like Atticus, remaining moral and good-willing no matter how terrible things are. We don’t get a reason why he’s like this. He’s an angelic figure at reads more like Zusak convincing himself that there were good Germans,

You don’t need Jew-loving Germans to make us sympathize with them. A bolder move would be to show us the German who either bought into Nazism, or just cared only about his own skin. This would be harder to do, but more insightful. Zusak already chose to tell the story about Germans and not Jews, for a change. Despite all their power, the Nazis were the losers and their story wasn’t heard. The novel reminds us that there was more in that time period besides dying Jews and the assholes who ran the camps.

Hans is better than Atticus, though. Around the middle Zusak lets him fall like he should. In fact, Zusak puts a lot of characters through breakdowns and allows each to have his own way of coping. He doesn’t manage to create a convincing enough psychology. His characters are too quirky. They stick to their quirks rather than reveal new things about their personality. Still, he gives each of them their own way of coping. It’s hard to write a convincing psychology, but an honest attempt gives extra points.

He also avoids the trope of showing a happy life that’s followed by a tragedy. That’s easy to do. Zusak’s Himmel Street isn’t a happy world of quirky people who are happy despite being poor. It’s a world of ups and downs, childish fights, hunger and friendship. It’s often disconnected from the big story of WWII but isn’t that the point? While war goes on, people are trying to live as usual.

It’s also interesting to see a 21st century view of war applied to WWII. There are no heroes and villains in this war. It’s just people doing their job. People are afraid of bombs, but don’t care much who they’re fighting against. War is ugly, regardless of which side you on. Thankfully, Zusak doesn’t take the leap to conclude there’s a grand conspiracy at works. He avoids ranting about fat white men smoking cigars, planning to bomb children for their own amusement.

His take on Hitler though, is a mess. He obscures his view in a children’s book. It’s either a cop-out or a clever way of saying how childish it is to paint Hitler as some senseless bad guy. There are some philosophizing about words, but they don’t lead to anywhere. Books are pretty important, words have power but is war the result of the failure of words? Or can war be caused by and solved by words? Zusak knows that portraying the Nazis as hating books is a straw man. Mein Kampf is their Bible. Where does he draw the line? He raises questions but never explores them enough to help me come to answer of my own. It’s just there.

While the idea of Death narrating the story is pretty cool, it’s also not used to its advantage. Death’s tone is interesting. Current Western society (and a lot of cultures in general) despise death and view it as the most terrible thing. Check the panic around the idea that everyone has the right to die. Death’s tone is not cruel but almost detached. It’s a sad inevitability that we must accept.

There’s not much insight beyond this. Death is a psychopomp, but not much else. It’s not even a new spin. The problem is that death is presented as this general thing. There are various causes of death and we treat each of them differently. It would be better if Zusak used this to make Death more complex. Suicide, war, old age – we react differently to those deaths. Digimon Tamers gave us an original spin by personoficating suicide specifically. Zusak had a chance to portray all kinds of deaths, but instead it’s monolithic.

The stylized prose also doesn’t always work. Zusak knows what he wants. He’s trying to be poetic by creating a rhythm and separaitng paragraphs. His descriptions are sensual and not precise. Cliches still attack him. The weather is always mentioned, which is such a redundant technique that it doesn’t matter how much purpose it has. The poetic style also often leads to more telling than showing. While there are interesting reactions to disaster, in general the characters don’t have enough to do. We’re being told about them, and they end up more quirky than humane.

It would’ve worked if Zusak was more determined what kind of book this was. If the whole thing was supposed to be pseudo-poetic all the way, then the occasional ‘manipulative’ moment could be excused. If your whole story is one large poem, everything will probably be exaggarated and an angelic figure like Hans would be easier to swallow. Too often the poetic stylings cover up the characters instead of revealing them.

It’s an interesting enough book that doesn’t justify the hype, but doesn’t deserve to be lumped as another brain-dead best seller. It resorts to failed tricks as much as it has original ideas. It reads more like an interesting experiment by a writer who has a great book in him, rather than a hack who can only pull the heart strings. Hopefully, the sales will make Zusak take his craft more seriously.

3 stolen books out of 5