A Review of “Quiet”

Quiet: The Power of Introverts in a World That Can't Stop TalkingQuiet: The Power of Introverts in a World That Can’t Stop Talking by Susan Cain
My rating: 5 of 5 stars

While the title of “Quiet” intrigued me, and Cain’s interview on NPR piqued my interest in the book, it was, as always, a recommendation from a friend that tipped me over on the decision to read. I’ve spent a good deal of my post-college days attempting to fit myself into what Cain refers to as the “Extrovert Ideal,” and, as a relatively recent out-of-the-closet introvert, I’ve enjoyed reading material on the psychological evidences of introversion, in the way that someone does when they’re looking for affirmation that they’re still a functioning human being without any critical psychoses that require attention. What Cain does, though, is of even more interest to me, and that is to address how introverts struggle in a culture that prizes extroversion and views an introvert as someone who has something very wrong with them.

Now, before you find yourself thinking that Cain is launching into a conspiracy theory about how extroverts are taking over the world and the rest of us are left in the shadows to be forever forgotten, let me point out that Cain is, in fact, presenting a well-researched, well-balanced, and passionate exploration of how introverts can thrive in situations that ostracize them by nature, as well as the positives that extroverts contribute to society. She doesn’t shy away from condemning what requires condemnation, though, and begins by identifying the “Extrovert Ideal:” the structure of our culture which is constructed in a way to reward and set up as a role model the extrovert, the person who thrives in a crowd and is seen in the spotlight saying all the right things and knowing all the social graces. Her problem with the Extrovert Ideal is that it forgets the contributions of the introverts, or, worse, places them into a position where they cannot be productive in their special ways due to pressure to conform to a standard that they are simply not hard-wired to meet. This results in introverts making poor career choices because they receive the unspoken (or, perhaps, clearly spoken) message that something is wrong with them because they don’t enjoy being around people in large groups.

Cain, of course, brings prominent examples of introverts to the table, introverts whose work have changed our culture (Steve Wozniak and the first Apple computer, to name one). She also discusses at some length the trend in American public education to place students together in “pods” or groups that reward extrovert personalities while inhibiting introverted personalities from learning. Perhaps most compelling is Cain’s presentation of research that indicates consistently poor decision-making in a group context, as opposed to much more sound decision-making occurring when individuals work alone, regardless of whether or not they are introverts. This is particularly impactful to anyone who suffers through the endless meetings of the corporate world in which nothing is ever accomplished.

My wife and I have long discussed that we meet each other in an interesting place on the introvert-extrovert continuum: I am a social introvert, she is a shy extrovert. Cain confirms the existence of this continuum, using the terminology of high and low “self-monitors.” This discussion occurs within the context of introverts assuming a certain role that is out of character for them in order to accomplish a specific task about which they are passionate, as well as those who pretend in order to get through the day in careers which make them miserable. Both are survival skills, one is more effective than the other.

More fascinating research results discussed by Cain are current observances of behaviors in small children, and how future introverts and future extroverts process unexpected stimuli differently in infancy. Cain uses this research in the context of enforcing that we cannot choose to be introverted or extroverted, but are quite simply born as one or the other. She insists, however, that this must be balanced with the knowledge that we can control the extremes of our natural tendencies…as Jung said, anyone on either extreme end of this continuum would be insane. Thus, all of us have a bit of both tendencies, and this is healthy.

To list all of the perspectives Cain presents in this book would be far too lengthy for a review, and would not do her work justice. This book was very impactful to me, especially in her concluding call and encouragement for introverts to make the changes, accepting that we are who we are, to either make reasonable adaptations that we can live with in order to pursue our passions, or to leave the way that we are merely surviving in order to pursue our passions. There’s a danger here, of course, in the sense that an attitude of entitlement can suddenly exist when one is told that she is a member of a group who, unable to help who they are, have been oppressed by the culture and prevailing attitudes of those around them, leading to a sudden demand for unrealistic change and compensation. If taken to its extreme conclusion, Cain’s call to action could certainly be seen this way. However, to see this book through such a lens would fall into the same fallacy as being on the extreme ends of Jung’s continuum: the sanity of such a calling would be in question.

Ultimately, this is a worthwhile read for absolutely anyone, because it speaks to our businesses, our schools, our social strata, and how to best appreciate the humanity of, and interact with, those around us, regardless of their introversion or extroversion. As Cain’s concluding remarks state, introversion is not something that needs to be cured. We can as easily infer from this that extroversion is not, either. Cain’s book helps those among us who prefer to work in quiet to accept who we are, and to recognize that co-existence with those unlike us is not the pipe dream we once considered it to be. Whoever you are and whatever your interests, do yourself the favor of reading this book.

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A Review of “Batman: Noel”

Batman: NoelBatman: Noel by Lee Bermejo
My rating: 5 of 5 stars

Batman:Noel is a one-shot graphic novel making its debut for this Holiday season. Essentially, the novel is a re-imagining of Dicken’s A Christmas Carol, casting Batman/Bruce Wayne as Scrooge, justifying his willingness to use a man named Bob, a man who is stuck in a dead-end job and chooses to carry packages for the Joker in order to handle the expenses of the medical bills for his son, Tim (see the parallels?). Batman weaves a plan to exploit Bob and use him as bait to bring the Joker out of hiding, despite the fact that this will endanger Tim, as well as Bob. Batman sees this as a valid tactic, because the goal of taking villainy off the streets of his city justifies any method, including risking those he sees as guilty, and their families.

And thus, from the beginning, Bermejo presents the reader with a bitter Batman, a hero lost and consumed in his passion to defeat evil at any cost, including potential harm to innocents. We see a Batman who has permitted his own tragic history to place his soul at risk. We see Scrooge in the Dark Knight, placing his plan in motion on Christmas Eve, because its just another day, a day like any other.

Of course, staying true to the classic story line, Batman is thus visited by three people who attempt to show him where he has gone off track, and who attempt to win him back over to being the hero he once was at this most sacred time of year, the Christmas Holiday. Catwoman appears as the Ghost of Christmas Past, leading Batman to re-live the passion, optimism, and principles that he once held. Superman appears as the Ghost of Christmas Present, gently breaking the Batman’s self-perception of being the respected bringer of justice who is beyond question by permitting him to overhear the true concerns about how he is about to go over the edge that are voiced by Commissioner Gordon and members of his police force. Lastly, the Joker finally appears, drawn in beautifully terrifying and hideous form, as the Ghost of Christmas Future, attacking Batman and leading him to imagine, in an unconscious state, the future as it might play out should he continue down the path that he is traveling. This sequence takes place in a hellish dream state that is in marked contrast to the cool, dark, and foreboding art that makes up the rest of the novel.

Bermejo hints at a love for Dicken’s work in his dedications, and this feels like a expertly-crafted homage to the author he seems to identify as such a huge influence on him. He captures the essence of Dicken’s story here, making it all the more poignant by presenting Scrooge’s tragically flawed nature in one we have come to know as a hero. He encapsulates his story of redemption in a statement from the narrator in the beginning of the novel, a statement that is the thesis of Bermejo’s work here:

“‘Cuz for this story to make sense…for it to mean anything…you have to believe in something. Something very important. You have to believe that people can change.”

This is particularly fascinating as we see Batman drifting in danger of becoming an anti-hero. Bermejo is presenting us with the hero who has always seen every human being, even the worst of villains, as being candidates for redemption , now desperately needing that redemption himself. Watching the Dark Night Detective move through the journey to that redemption is powerful, and complete with a theological statement of re-birth in a striking half-page panel as  Batman rises from the grave in which the Joker has left him, returning to a new life and purpose from the death that his bitterness has brought about, resurrected, as it were, to a clearer…and more heroic…purpose.

The art throughout the novel is pristine and brilliant, with floating fonts superimposed over the panels as the unseen narrator moves us through the story. Bermejo’s dialogue shines as much as his overall storyline, making a graphic novel that is difficult to put down.

For any superhero fan, and certainly for any Batman fan, Batman:Noel is an exploration of redemption in the truest Christmas fashion. In fact, if you’re new to graphic novels altogether, this would be a great place to start.

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A Review of “The Night Circus”

The Night CircusThe Night Circus by Erin Morgenstern
My rating: 2 of 5 stars

“The Night Circus” began as a book club nomination, and is yet another example of why I love my book club, as this was likely not a book that I would have picked up to read on my own. Discovering that the author lives in an area with which I am familiar adds a degree of connectedness to the book, and the first 100 pages drew me into this quirky and unusual story so completely that I imagine one could hear the vacuum as I left reality. I remember sitting on the sofa with my wife, who was also beginning a new book, and reading nearly the first quarter of this novel in one sitting.

Which speaks to the aspect of “The Night Circus” that I think is its strongest, and that is the originality of the concept. This is the most original idea for a story that I have read in over a year, and that alone made the book difficult to put down, at least initially. Morgenstern introduces us to a magician and illusionist whose stage name is Prospero the Enchanter. Prospero, while in his dressing room in the theatre, is introduced one night to a daughter he didn’t know he had, and who has been left with him. The interesting thing that the reader learns about Prospero is that his illusions are not tricks of mirrors and distraction, but actual magic. We soon discover that there are many in the world who can manipulate various forms of magic, and that Prospero’s daughter is particularly gifted. So gifted, in fact, that an agreement is made between Prospero and a man we initially believe is his colleague or long-time friend (no spoilers from me here) for a competition, pitting their students against each other in a duel of magical skill that lasts until one of them no longer stands. Prospero’s daughter and her competitor, Marco, are unwittingly and irrevocably bound to this competition, unable to withdraw, having no choice but to complete the contest until only one of them survives.

Which is complicated by the fact that they fall very much in love with each other.

The circus, which appears without warning, is the venue for this competition. The circus only operates at night, opening at dusk and closing at dawn. It leaves as suddenly as it appeared, traveling around the world, and dazzling curious audiences with feats that could only be magical…and which, of course, are exactly that.

The issue with the plot is that it is its own worst enemy at times. It was around 100 pages from the end when it began to feel like a “love conquers all” story, which made me nearly not want to pick the book up again. And, in the end, it was a struggle to finish the book. Part of this is because explorations of magical illusions, tarot cards, and enchanting spells really aren’t my cup of tea. That said, the plot really did slow down in the end, although, to Morgenstern’s credit, it managed to conclude in a way that I found I hadn’t seen coming.

Morgenstern writes with the annoying habit of substituting commas for periods, creating run-on sentences that walk a thin line between being the signature style of a writer and a perpetual grammatical error. I’m not sure I decided on which it is, but it drove me to distraction throughout the novel, forcing me to stop and re-read sentences that sounded like a mash-up in my head. Which is a shame, because Morgenstern has a true descriptive genius in her narrative, invoking scenes in such sensory detail that I can still close my eyes and know what it would be like to walk through this circus. She quite deftly uses a technique of inserting the reader into the circus through short explorations of different tents at the beginning of each section of the book, walking the reader through what you see as you explore the circus, and combines these scenes with some foreshadowing that, on at least one occasion, was quite clever. Her dialogue, also, flows easily and has flashes of brilliance that caused me to stop and take note of the sorts of lines that you really have to digest before you can more forward.

Her characters are very well developed, and the reader has no issue knowing them at the end of the ebook’s 384 pages. Particularly, I found myself mourning their deaths, almost moreso than applauding their successes.

Perhaps a more substantive critique of the novel than stories about love and dark magic not suiting my particular palette, is that a theme never really develops by the end. Unless “love conquers all” is what Morgenstern was going for, she missed. Or she never intended a theme to be present. This, however, seems unlikely, as several potential themes manifest throughout the novel, but are never fleshed out into any complete thoughts. The closest I could get is that love empowers us to choose our own destiny over that which is written for us, but even that is shaky.

The novel would have been more satisfying had I been able to walk away with some sort of meta-message, but here it disappoints. If you’re interested in reading a debut novel that has achieved some popularity in popular circles, then “The Night Circus” might be a book you would enjoy. In fact, if you follow popular new releases, then you likely have it on your list already. If not, though, I’m hesitant to recommend it. I am, however, interested to see how Morgenstern’s career develops from here.

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A Review of “The Colorado Kid”

The Colorado KidThe Colorado Kid by Stephen King
My rating: 4 of 5 stars

This is the first I’ve ever read of Stephen King. I’ve never found myself attracted to King’s writing…a couple of glances at the films made of his novels and overhearing descriptions of his writing have generally been enough to rule him out for me. That’s not because I don’t think he’s a good writer…I’ve heard everything to the contrary. Its just that suspense and horror aren’t my bent.

What I have found myself drawn to lately, however, is the SyFy Channel’s original series, Haven. The series is based off of The Colorado Kid, this short novella by Stephen King. Some of the behind-the-scenes videos from the series  discuss how veiled references to King’s other stories appear throughout the series, much to the delight of his fans. While I’m not interested in reading the rest of his canon…or really anything else by him…I was very interested to read the basis for the just-eery-enough program upon which I’ve become so hooked.

And when I call this a short novella, its just that: the ebook version finishes at less than 200 pages, so if you pick it up with any time to devote at all, you’ll likely finish it in one sitting. Like the television series, the story is set in coastal Maine. This proves to be the perfect setting for a mystery, because, as King states in his afterword, nowhere is quite so isolated to provide for the mysterious as an island. The story is of a man who is discovered dead on a beach by two high school students one morning, and the subsequent investigation that is sold short by local law enforcement, and performed largely at the hand of the two old newspaper reporters of the local paper (who will be instantly recognizable to fans of Haven). The unidentified man, to whom they begin to refer as the Colorado Kid, is eventually identified, and discovered to have not only be from Colorado, but to have been seen in Colorado hours before being discovered dead on a beach in Maine. Thus the mystery begins…and it proves nearly unsolvable.

What King does here that’s so fascinating is that he leaves the story at that: an unsolvable mystery (although he hypothesizes the potential for solutions in his afterword, he never identifies any).  Rather, this is a story that explores the phenomenon of mystery, the fact that human beings are confronted with (what King views as) the unsolvable mystery of life, and compelled to reach toward it, to keep trying to solve it regardless of how unsolvable it turns out to be, and to keep our future generations motivated to continue probing the unknown, as well. The newspaper reporters pass on the unsolvable story to their college intern, who has become passionate about staying in Maine and carrying on this small newspaper. She is the heir to the story of the Colorado Kid, and we know that she will continue to pursue it. In his afterword, King states that wanting to know can more important than knowing. As much as he seems to eschew any rhyme or reason to the tragedy of life in his thoughts, he seems to be exploring an almost theological idea here, nothing short of the knowledge of good and evil.

There’s nothing frightening about the novel. I was left with some chills when I read it late into the night in a quiet apartment with most of the lights off, but they weren’t the “something’s coming to get me” chills, but rather the chills that accompany an excellent mystery. And that, ultimately, is exactly what this is: an excellent mystery. The supernatural element that drives Haven is absent (although one does ponder paranormal solutions to the mystery when all rational explanations seem to fail), and the reader is drawn into sleuthing with amateur sleuths who are passionate about discovering the answer to the mystery. King even weaves in a classic quote from Sherlock Holmes, and its very much at home here, even though the truth isn’t discovered by the end.

But the reader is still left with the hope that it could be discovered. And so we’re driven to always keep wondering. And that’s the part of the human condition that King is probing here, the thing that drives us to seek answers to “why?” when we’re confronted with the unanswerable.

You don’t need to be a fan of Stephen King to love this book. You don’t even need to be a fan of Haven. If you are a fan of a good mystery, then this should be on your shelf.

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A Review of “Carte Blanche”

Carte BlancheCarte Blanche by Jeffery Deaver
My rating: 3 of 5 stars

Having grown up enjoying James Bond’s adventures as a not-so-guilty pleasure from childhood onward, I quickly snatch up any new Bond novel that is released. I can trace the small handful of authors that have penned 007’s adventures from Fleming forward, and, for the most part, all of these authors have gone to great lengths to stay true to Fleming’s character. This is the second novel in four years to follow Bond’s adventures, the previous by Sebastian Faulks placing Bond in the height of the Cold War with a great depth of character development. That novel was a thoroughly enjoyable and Fleming-like adventure. In fact, Faulkes presented Bond as close to Fleming’s creation as Daniel Craig portrays Bond on the screen…that is to say, very much like Fleming’s Bond.

This is Deaver’s first entry into the pantheon of Bond authors, and the jacket made the book sound exciting and promising, placing Bond in a modern day, post 9-11 world in a rush to stop a terrorist event. The title is acquired from the fact that Bond is, as one of the best-of-the best “00” section agents, given “carte blanche” to complete his mission in any way possible. Deaver explores the political consequences that come with this freedom through the book in realistic and enjoyable detail.

Deaver, in fact, presents a nicely woven adventure, opening in the midst of a massive scale attack on a locomotive that Bond thwarts, and never slowing down through the weighty 400 + pages as Bond attempts to unravel a mysterious event labeled “Incident 20,” which is detected in whispers by British intelligence services, and promises mass casualties when accomplished. Deaver incorporates modern technology into Bond’s world quite well, and those of us who enjoyed Bond’s mid-career movies with all of his gadgetry will be quite enamored by Deaver’s imaginative descriptions, as well as all of the occasions that Bond’s mobile phone has an app for that. Deaver writes action sequences that are full but never over-stated, and does an excellent job of avoiding gratuitous gore or bloodshed in doing so, while never shying away from Bond’s using his well-known “license to kill” (although he never uses that phrase in this novel).

And, I’m sure that Deaver is an excellent thriller writer, with several novels already to his credit. I’m thinking, though, that perhaps he shouldn’t have tried Bond. Or, at least, he should have taken greater care to stay closer to the character.

Firstly, Deaver takes liberties with the setting of Bond’s adventures, placing him with an office known as the ODG, not MI6, where Bond has always been in his previous incarnations. However, since Deaver brought over the other major and necessary characters with Bond (i.e.: M, Bill Tanner, and Moneypenny), I was able to roll with the punches on this. Deaver also makes a quite interpretive dive into Bond’s family history, which, while proving to be an interesting subplot for the story, hung me up at times as being perhaps too great a liberty taken with the character.

Secondly, and most importantly, Deaver overuses a device to frustration in his storytelling. We’re led to a catastrophic event on several occasions in the book, breathlessly realizing that Bond has failed in his task to enormous consequences and loss of life, only to discover in the following chapter that he had actually swooped in and taken everyone to safety moments before the explosion. This was interesting the first time, odd the second, and actually made me want to stop reading after numerous other usages (and I’ve read at least one other review indicating the same frustration). This was complicated by the fact that Bond’s last minute victories were accomplished through forethought that is just simply untenable, as we’re taken back through previous chapters and told that his actions were actually to secret away a device that he would need later, or to obtain information from another character through that conversation that we thought meant something else. This is just unworkable in the reader’s mind, despite the fact that we’re dealing with a larger-than-life character.

And, along the lines of Bond being a larger-than-life character, thirdly: Bond is presented here as a “knight in shining armor” sort of character. This is accurate to a point, as he is driven to prevent an attack and save the lives of thousands of people. However, Fleming’s original cold and calculating Bond who follows orders, manipulates others without hesitation, and doesn’t spare lethal force, is missing here. Deaver tries to present Bond this way at times through various descriptions, but the descriptions are found to be at odds with Bond’s actions and moments of conscience.

Ultimately, Deaver presents a good story idea that is marred by poor execution of plot twists and very unsuccessful attempts to place a modern re-interpretation on a classic character. I’m not opposed to re-interpretations, but they need to be good ones. The book is well structured and well-paced, and the concept of the story is gripping. The book would make an average-quality Hollywood movie that most casual Bond viewers would likely enjoy.

Unfortunately, casual Bond viewers aren’t typically the ones (I don’t think) who read these books. The long-time fans are, and we tend to be purists. As such, we will find ourselves disappointed in Deaver’s offering, which is, in the end, only a mediocre delivery.

If you’re a general thriller, suspense, or espionage fan, this may be a good book for you. If you can remember and name all of Bond’s major arch-nemeses throughout his career, as well as your favorite weapons, then it may be a waste of your time.

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