The Fall (The Rift, Book 1), by Robert J Duperre

[This book has no back cover copy]

 

The Fall suffers from some big problems. The first is a series of careless errors which litters its pages: not only did I find problems with apostrophe-use and grammar, there were a few instances of exposition which explained things which were actually wrong. For example, the information given about how one of the characters funded his academic research, and what that research was meant to achieve, is at odds with how academic research really works. Had the author spent just ten minutes checking his facts I’d have been able to find his story much more believable. What makes it worse is that the information provided in that chunk of exposition wasn’t at all necessary to the story and could easily have been cut.

The bigger problem, though, was the tone of the writing.

The narrative frequently lapses into a lecturing, disapproving tone which I found thoroughly off-putting. The implication is that ancient civilisations were good and modern ones are bad; and that ancient knowledge was insightful and inspiring while modern technology renders our civilisation crass and insensitive. This, coupled with a stereotypical, somewhat dismissive view of today’s South American culture gave the book an unsympathetic and judgemental edge which made me reluctant to read on.

If the writer could introduce more variety of tone, could learn to not present things in such a black and white way, and could manage to be more sympathetic to his characters, then this book would be significantly improved; and once he manages that a scrupulous copyedit would resolve the book’s other issues. Whether this would be enough to change this from an ordinary predictable read into an exciting and interesting one, I’m not so sure. I read eleven of this book’s three hundred and thirty nine pages.

Never Mind Yaar: K Mathur

Never Mind Yaar

K. Mathur’s vivid descriptions bring the college and its students to life. Immensely pleasurable and thought provoking.

When longtime friends Binaifer and Louella meet Shalini Dyal at Gyan Shakti College, Gyan full knowledge and Shakti full strength, a true friendships that transcends cultural and religious backgrounds is born. Louella is a Christian, Binaifer, Parsi and Shalini, a Hindu.

“To me the book is a mixture of history, cultural information and a lovely story all rolled into one.”

– Sarah, UK

“I was in a style trick about my college days after reading about the three friends from different backgrounds.”

Snigdha, India

“Khoty has written a beautiful story… I dare anyone to read Never Mind Yaar and not come away with some insight.”

– Rita’s Book Reviews

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This writer has a lively and individual voice and handles her male characters quite well: they are all distinct and believable, and work well together. Her female characters aren’t so finely drawn, however, and the writer’s tendency to head-hop makes the scenes in which they appear jumbled and confusing. It’s a shame, as there’s something I like about this writer’s voice: but the writing wasn’t clear enough for me to be to recommend it.

There was a scattering of punctuation problems; and Never Mind Yaar would be much easier to read if the paragraphs were indented; but for me, the overwhelming problems with this book are the writer’s tendency to overwriting, and the lack of clarity in her prose. I’d like to see what Ms Mathur could achieve once she gains a better understanding of point of view; and once she learns how to edit more ruthlessly, with clarity and pace in mind.

I was also disappointed by the slowness with which the story developed. I read fifteen of this book’s two hundred and thirty-two pages and no real conflict had been established by then: all I knew about the story is that it takes place in a university with a grumpy administrator, and that the young women who have just arrived are pleased to be there.

A quicker start to this book would grasp the reader’s attention, and make them eager to read more. If this were combined with a crisper, cleaner prose style this book might well have great promise: as it is, it’s a slow, confusing read which gives just the smallest hints that with a little more guidance this writer might do right rather well.

Root Cause: James W Crissman

When Bruce Dinkle takes up the cause of eating only local food, his zeal badly exceeds his judgement. After alienating his family by enforcing a strict locavore and urban agriculturist lifestyle, he abandons them by bicycle on a quixotic quest to learn where food comes from. He quickly becomes enmeshed in a small Michigan farming community where he goes to work for a large crop farmer, meets a sagacious veterinarian, and falls for a randy goat lady, all part of a sprawling cast of characters who enliven this often hilarious, mix of food, family, sex, and a little violence down on the farm. Think Michael Pollan meets James Herriot and Carl Hiaasen.

James W. Crissman is a veterinary pathologist and former large animal veterinarian. He is the author of a 1998 Pudding House Publications chapbook, Jailbait in Holy Water, and has won numerous prizes for his poetry. His short story, Wallhangers, won the 2007 Dirt Rag literature contest. Root Cause: the story of a food fight fugitive is his first novel. Jim and his veterinarian wife Jill live on a small farm in central Michigan where they’ve grown three children and much of their food for more than twenty years.

“We know there is tragedy and drama in obsession, but sometimes we forget that there can be something wonderfully comic in it, too. James Crissman reminds us of this with Bruce Dinkle, the richly weird protagonist of ROOT CAUSE, who sacrifices everything from family to dignity in his effort to find the right way to live. He is Don Quixote for our time — silly, misguided, and just maybe absolutely necessary.”

Keith Taylor, Creative Writing Coordinator, University of Michigan and author of If the World Becomes so Bright.

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There is much to like about Root Cause: its characters are reasonably well-drawn, the premise is interesting, and it’s full of black humour which is quite delicious at times. But all these things are overshadowed — not to a great degree, but enough to be significant — by problems which could easily have been fixed with a rigorous edit.

There were a few typos and punctuation errors: Mr. Crissman is over-fond of commas; and he is prone to overwriting and to writing complex sentences with long words when simpler and shorter would be better. Many of the pages that I read were given over entirely to exposition, and to telling the reader what was happening and how the characters felt, rather than showing us the nuances that makes reading so much more rewarding.

The story didn’t actually get going until page seventeen, which is far too late: and by that time I’d already been lectured at several times as Mr. Crissman banged his point home and then repeated himself, just to be sure we got it. Scenes which should have been sharp and pacey (for example, pages twenty six to twenty nine, if anyone’s counting) felt rushed and flat, and were unsatisfying as a result.

These points are not minor but they could be addressed by a ruthless rewrite. It would vastly improve this book which, despite all the flaws I’ve listed, has great potential. I came so close to recommending it but decided not to because there are so many issues with it: but I’m convinced that beneath all the clutter there’s a good novel here, from a clever writer who is bound to get better. I read thirty pages out of this book’s three hundred and eight. Mr. Crissman mighth like to read Alice Monroe and Carol Shields so that he can see what to aim for: and I look forward to watching his talent develop in the years to come.

ASO: Lindsey Mackie

It has taken ruthless dedication for Rachel Develin to achieve her in the status as a Fidelis Officer in ASO, a society born from the remains of old Britain. Here in 2050, the role of the family has been redefined and, under the leadership of Magnamater Beatrice, people live in age-related regions. In Abovo, trained professionals named Maters rear all children before they graduate to Suris, where they stay and contribute until they reach 55 and are obliged to resort to Olim. It is a time of limited resources when all energy and water supplies are strictly controlled, each garment is recycled and every child is an eagerly awaited prize.

Rachel’s highly developed physical and intellectual abilities have always commanded respect, but privately the strain is now telling. While her fragile union with Ben has survived his infidelities, she struggles to suppress the need to be with her daughter, Bera, and to ignore the growing social unrest.

Her latest assignment begins with a routine interrogation, but her investigations are forced in a more unpredictable direction by the unaccountable Death of her superior officer, Josie Kitchener, with whom she has had a long and volatile relationship.

Her discoveries, and the punishments she must administer and endure, force stark choices that irreversibly change her loyalties and threaten the stability of ASO itself.

Accompanied by a CD featuring original music tracks written and performed by the author.

Aso is a perfect example of why editors are needed. The author has a tendency to slightly wooden and over-formal dialogue, and her writing is occasionally rather muddled, an effect which is exacerbated by her habit of head-hopping. Despite these faults she does have a mostly smooth and fluent style—which she then scuppers with numerous errors in punctuation, which range from minor errors to problems which completely cloud her intended meaning.

This tendency to confusion—both in the writing style and the misuse of punctuation—leads to a rather unsatisfactory read of a book which might well have shone had it been edited more effectively.

Mackie shows promise: she seems proficient at world-building, and there is an undercurrent of a lovely, lyrical tone: but she needs to pay more attention to detail, and to have more awareness of some of the pitfalls of the craft of writing, if she is going to fully realise that promise. I read eleven pages out of three hundred and three.

This review should have been published a long time ago: my apologies for its delay.

Collision of Angels: Michael Carver

When Tony Campbell accepts his father-in-law’s invitation to chat, he braces himself for yet another of Silas Jackson’s ambitious business schemes. But even in his wildest imagination, Tony couldn’t have prepared himself for what Silas proposes this time: a run for the United States presidency. In the wake of recent controversial elections, Silas and his colleagues fear America is being run by the few and has turned its back on God. Their remedy: attempt to put a man of faith into the White House. This crusade proves to be the ultimate challenge however, and Tony finds himself facing his greatest test of faith ever. What appears to be a battle between church and state in the human realm is gradually revealed to have far higher stakes — with ramifications that echo throughout eternity. People on both sides of the aisle will recognise intriguing arguments in this novel and will doubtlessly be waiting for Collision of Angels to continue.

Collision of Angels has it all—if you’re looking for the mistakes that new writers make.

I found clichés (including several in the back cover copy), confusing constructions, and point-of-view switches so frequent and so swift that at times I found it impossible to work out which character’s head I was meant to be in, even with repeated re-readings. Then there was the repeated use of exposition; and the chapter which begins with the words “six months later” then on the following page abruptly switches to a story which happened “nearly twenty years ago”. While it’s fine to time-slip on occasion, it has to be done a little more carefully than that.

Add to all of that character who sometimes has a severe stammer, but who can sometimes speak more fluently than I can, and it’s no wonder that I read just six of the 428 pages that this overlong book contains.