Kindle. I've read a few of hers before, and Kate reckoned this was decent; I was wary that though Patchett can write, she doesn't always tell a story worth reading. Structurally we're in the same space as Towles's A Gentleman in Moscow: many upper class people are detained in the home of a South American country's Vice President by some revolutionaries from the jungle. The South Americans are drawn the best, or perhaps the American artist embodying opera, while the Russians and French are national caricatures. The Japanese salarymen fall in the middle. There's not much feeling for the revolutionaries beyond lip service for the morality of their cause against a brutal regime. Stockholm syndrome (of course!) yields some odd coupling via some deft artifice; the excess of (transitive!) lurv is too narrowly drawn as a physical thing that transcends linguistic and cultural barriers. The foreshadowing is excessive, with some of the setups repeated patronisingly close to the cash outs. One of her themes is that the skills people make money with are generally useless outside of our increasingly claustrophobic adult daycares. Another is the universal awesomeness of opera, which stood in need of as much justification at the end as the start, given this much dancing about architecture. The epilogue is confusing; when did all that happen?
Janet Maslin at the time. Goodreads has some thoughtful commentary.
Kindle. And yet more thin Brunner. Time travel only sorta works when causality is given a wide berth. Brunner being Brunner we instead wade directly into an incoherent swamp of sociological whatifery: the Spanish Armada wins, England is colonised, and time (but not space) travel devices are elementary to construct. The fashion is medieval, though the Inquisition has evolved. Structurally it's three novellas anchored by a bloke who just happens to be there; in more capable hands it may have lead to such innovations as Douglas Adams's infinite improbability drive. The ending is as pat and Planet of the Apes as it must be, but with a novel contention: any timeline that discovers time machines has no future.
It's been an age since I've seen an Australian film, which this isn't quite; Tim Winton's book provides the raw material for two foreign leads to swan about W.A., and while Kelly Macdonald is always good company I've got to wonder if they cast Garrett Hedlund only because Thor was unavailable. Their accents are challenging. Her cadence is Scots I'd say, her locutions corr-blimey Australian school girl, while Hedlund doesn’t try too hard with the little he is asked to say. Both disintegrate opposite Australian actors. David Wenham is as cold as ice, retaining barely a smidge of Gettin' Square. Aaron Pedersen is inexplicably clunky, nowhere close to those halcyon days of Wildside.
The story as shown here is a 1980s throwback, like The Club, from when Australia was on the cusp of a professionalism already souring under that old and relentlessly violent grasping. (I'd say that things have further soured into shameless mendicancy.) In those days the wife was allowed to bridle at the chauvinism but not do anything about it, which is reflected here in the cars having more personality than the leads; Hedlund's beat up old ute is straight out of Erskineville Kings, an altogether better rumination on the laconic Australian male, while Kelly Mac implausibly scores a classic and pristine lime-green Holden shagger from Pedersen's bush mechanic. "Peg leg" Dan Wyllie drives a troop carrier up the W.A. coastline, the dream of many a millennial. The music is also entirely retro: a country version of Song to the Siren, Paul Kelly's Dumb Things.
The two-track structure is not very effective as the foreshadowing gives an undertow of unearnt tragedy to the whole thing. I felt the visual style was derived from Breath, at least when we get past the excess internalism of hotels and living rooms to the where-the-bloody-hell-are-we tourism commercial (Sam Chiplin will never be out of a job). There's no real sense of the town despite it being a locus for the fisherpeople generationally. The ending is atrociously hokey. One might be tempted to blame director Gregor Jordan (Two Hands, Buffalo Soldiers) for some or all of these flaws until one remembers that the source story was not that strong, Georgie not that great a character, and that Winton's prose does more for W.A. than any camera can.
Kindle. More thin Brunner, with a very thin conceit stretched very thin over some druggy imaginings of alien physiologies. He made bank on his word count here with a lot of repetition at the macro level; the first-person sentences seem finer than usual, which is a bit of a waste. The spirit is (once again) Arthur C. Clarke's Childhood's End alloyed with some South American exoticism / essentialism. It ends in a damp squib. As idealisation is what I do (poorly), I don't think there's a lot to philosophise about: it's entirely instrumental.
Kindle. Another thin Brunner. It's basically a reworking of 2001 where instead of going to Jupiter or Saturn the characters go from one invented U.S. city to the Canadian border. There's the usual sociological preoccupations, and he's quite happy to take the U.S.S.R.'s side of the argument back in the day. It's difficult to see how he made bank with this sort of derivative crap. I similarly can't believe that anyone would spill so many words on it.
Kindle. And yet still more thin Brunner. This one was briskly written with some motivations too opaque at times to grasp. Matter transmission! called the transfax of course. Oh my. A secret society (read Second Foundation) tries to broker peace with an immature alien society. As is often the case the scifi dressing is completely auxiliary; his main interest is on the sociology, and these days he'd probably be writing historical fiction.