CBR III Week 9: A Feast for Crows by George R R Martin

Fest for crows

Since I've already reviewed the Song of Ice and Fire books that preceded this one, I'm not going to rehash all the things I said about the series in general. Instead I'm going to ponder whether it was a mistake to release this book or not. A Feast for Crows is, qualitatively, on par with Martin's other writing, but it's gotten some very middling reviews, because it only follows some of the characters we've grown to know and love (if memory serves, they are: Cersei, Jaime, Brienne of Tarth, Sansa, Arya, some Greyjoys, some Martells, and Samwell). Basically, Martin's manuscript got too long for publication and so it got split up into two volumes, by geography, A Feast for Crows being the first. This would've made sense if the two volumes had actually been published together, or within a year of each other, but instead, Martin took the second of these two volumes and expanded it (?) into a whole new fifth volume bla bla bla, which he's still working on. 

I suppose it made commercial sense to do this, since Martin is a relatively slow writer (not that there's anything wrong with that), and Feast is a nice sop to fans. In the end though, it feels like exactly that: a half-baked attempt to maintain reader loyalty that doesn't necessarily make sense in terms of telling the story. Where is Tyrion, guys? Tyrion is like 95% of the reason I'm reading these books. In addition to the cranky-making absence of a dwarf, the format sacrifices a lot of the dramatic irony that makes the series so delightful. If you happen to be making your way through the series, I would advise you to stop at A Storm of Swords, and wait for the next book in the series to come out before reading Feast.

Of the published volumes, I think the first and third are the most effective because they each contain events that are major game changers. They read like Greek plays: their tragedies are on that scale. A Feast for Crows doesn't do much more than build up momentum. 

Can I get a slow clap for the Arya storyline, though? She gets more emotionally complex with every chapter. Martin has made her transition into adulthood painful and fascinating, and I love that there's this potential that she'll grow up to be somewhat of a monster (like "sociopath", not like "Godzilla"). Talk about high stakes.

CBR III Weeks 4,5, and 6: A Song of Ice and Fire Books 1-3 by George R.R. Martin

Songoficeandfire

I picked Game of Thrones up as a direct result of all the attention the forthcoming HBO series has been getting on Pajiba, and I’ve been (mostly) really pleased. So much so that I read the next two books in the series (A Clash of Kings and A Storm of Swords) right after. Song of Ice and Fire is a high-medieval fantasy about the descent of a kingdom (Westeros) into civil war even as it’s threatened by malevolent outsiders, including the Others (ice zombies!), and the arrival of a years-long winter. At the beginning of the story, King Robert—who himself snatched the throne from its previous rightful holder—dies under suspicious circumstances, and two noble houses (the Starks and Lannisters) enter into contest for the Iron Throne. Other would-be kings emerge and soon enough, chaos rules.

Martin hasn’t reinvented the wheel or anything, when it comes to fantasy fiction, but he’s put together a great story in these first volumes of what is really an as yet unfinished mega-novel. In a lot of ways, Westeros feels like it was cobbled together from a catalog of fantasy fiction clichés: there’s the Wall-Type Thing Behind Which Evil and Blight Reside (which you may recognize from Lords of the Rings, or Robert Jordan’s work), there are dragons, there are humanoid beings, and magic. At times, Martin’s commitment to creating an original world can feel a little half-hearted. He’s no Tolkien, you know? But—and this is what’s so great about Martin—it doesn’t matter, because that’s not what the story is about. It’s all about the human drama: the machinations of men and women obsessed with power, the drive to survive, the need to avenge. They could be Tudors. Setting his story in a fantastical world merely serves to liberate him from the strictures of our own history.

There isn’t one character in here that is purely good. Honorable characters are often very foolish, and even many “evil” characters have their odd moments of introspection and kindness. My allegiances changed about as often as the characters’—which is to say constantly—and by the end, I don’t think there was a single person that I had cheered for throughout. Except Tyrion. Tyrion could shake a baby, and I’d still like him. Just as surprising as Martin’s willingness to make his characters complex and unlovable is his willingness to kill them. Even the POV ones*. DUN DUN DUN. It’s that kind of story.  

As a writer (in the technical sense of the word), Martin is serviceable. If he could have used a stricter editor to cut down on purple prose and the occasional pointless digression, well, at least he isn’t constantly repeating himself. I like that: I think it speaks to a certain amount of respect and trust in the reader that is often lacking in genre fiction. In Robert Jordan’s books, for example, about 20% of the text could probably be eliminated if Jordan hadn’t assumed we were all suffering from a tragic case of short-term memory loss. Martin ends almost every chapter at a moment of suspense, which is cheap, but effective. The chapters are short, so I didn’t mind so much.

I’d like to address the question of sex for a second: there’s a lot of it (especially in Game of Thrones), and I would argue that a lot of it is written to titillate, rather than to develop the story. Is the sex part of character development? Absolutely. Did I need every last sexy detail of a thirteen-year-old girl’s…um…rape? No. Frankly, it’s distracting. It’s probably more of a problem of style than the actual content. I’m kind of creeped out by the sense that Martin really enjoyed writing all the sex…it’s like a stranger on the bus telling you all about his fantasy involving a peep-toe heel and a lizard named Elmo, and that’s awkward. Even if it is informative.

I recommend this, overall, if you really like fantasy as a genre, and I can’t wait to see what HBO does with it.


*I’m the kind of loser who needs to know exactly which character is going to die, or I get so anxious that I can’t enjoy the book. Am I alone in this?

 

200-Word Book Review: Robert Jordan’s The Wheel of Time

The-eye-of-the-world
 

Yes. I am reading an enormous, déclassé fantasy series. These books are probably, on average, 700 pages long, and there’s fourteen of them, and when I first noticed I thought ‘Whatever, I read A Suitable Boy. I read Tolstoy. I can handle this nonsense.’ I was wrong, because I’m on book five now, and I’m exhausted.

The good: A fully realized world very much in the spirit of Lord of the Rings, so it’s perfect if you’re looking to relive your childhood. You should probably not attempt to relive your childhood.

The bad: I’ve read about 3000 pages and one measly year has passed in the story. The characters are flat. SO flat. And dense to the point of stupidity. That’s ok for the first book, but by book four, you wonder why these people can’t seem to have more than about five different thoughts, which are:

-“Is Rand going mad?”

-“Light, no! [description of something already described 57 times before in the exact same words]”

-“Who understands women/men?”

-“I will keep this vital fact a secret from everyone, thereby extending the plot by a completely unnecessary 300 pages.”

-“I am tired.”

Me too, guys! Me. Too.