Category: Books

You’re saying, “What, Noggle, you’re reading cartoon books now and counting them in your annual total?” If you’ve paid attention, I’ve done this for a number of years. I’ve read these two books in the last two days as a brief respite from the 500+ page books I’m still working on, so deal with it. Or skip the report if you weren’t already.

At any rate, as I worked through these books, my wife mentioned that Dilbert was funnier than Garfield. Well, I guess it depends on what your life is. If you work at a white collar job, you probably get the jokes in Dilbert. If you have a cat, you can relate to Garfield. If you don’t live the lifestyle, then you’re not going to relate to the humor. I think both of them are amusing, and I don’t think myself any less sophisticated for it.

The Adams book is from the middle 1990s, but its humor remains topical enough to not be dated. It’s the same with the Garfield book, although its timing is my senior year of high school, so I get the extra little bit of nostalgia and have read this morning the Garfield cartoon that ran on my 18th birthday. I don’t know if I’ll get nostalgia kicks out of anything after 1995, so Scott Adams will never do that.

Well, there you have it: about as in-depth of a review of fourteen and twenty-one year old cartoon books as you might expect.

I began to read this book a long time ago. I remember reading this book to my son when he got a rare excursion into the basement in our home in Old Trees. That’s before he was our eldest son, and our non-eldest son is turning three next month. So it’s been a long time since I first put a bookmark in this book.

As you might recollect, my main methodology of reading poetry these last few years has been to read it aloud while my son(s) played. Sometimes he (they) actually ask(s) for more poems. But I read this aloud to my boy before he got to that point. And then I hit the poem letters, which sometimes run for several pages. That’s too much to try to jam into a session where one is reading aloud to a child and interjecting to keep the child from flossing with the poorly insulated electrical cord.

So I thought I’d read the epistles to myself. Then I hit the poem “Of the Progress of the Soul”. Which is 16 pages. Which is a long slog. Especially if you’re trying to pay attention and read the poem out loud, which is what I do: I cannot read poetry without reading it aloud to see how it sounds and how the rhythm of the words, line breaks, and punctuations make it sound. You know what 500+ lines of a single poem take? An hour or so scattered in places where I waited to pick children up from school over the course of several days. What will they think of the Noggle boys’ Daddy, who has to move his lips when he reads? I don’t know, but suffice to say the number of birthday party invitations has declined.

Oh, wait, a comment on the poetry? It’s “Meh.” I mean, Donne’s poems are about love, sometimes, and spirtual all of the time. If you’re going to read him, read him in an anthology. There are few poets I can take in large doses–I mean, it took me four years to read this volume and coming on twenty to read the complete works of Emily Dickinson (as of 20 years ago; I think they’ve been revised upwards since). He has a couple of quotable lines here and there, but if the poems are going to stretch into more than a dozen pages–there’d better be bloodshed in them, not just the flattery of a perfect soul who died two years prior.

So get it if your class requires it, I suppose–I think that’s the purpose of this cheap volume. Or if you have patience. But be prepared.

Earlier this year, I read Battlestar Galactica in hardback, so why not run through the paperback sequel in short order? So I did.

This does continue the season of reading repeats, as I also read this book in high school. This book covers the two-part “Gun on Ice Planet Zero” episode, where Apollo and Starbuck lead a team of convict mountaineers to an ice planet to disable a giant Cylon laser. I mean, what’s not in it for a fourteen-year-old to love? Giant lasers, a mismash of World War II film plots (although a fourteen-year-old in 1986 might not recognize this), and a young child who stows away and gets into danger that I can relate to? Well, all except the last: no matter how much the writers insist young people need that character, we never did.

It’s a good adaptation, which means it adds some depth to the events depicted on the screen and does not generally detract from the charaters and the established mythos (or at least what I imagined was the mythos). So it’s worth a read and maybe, 20 years later, a re-read. And it makes me want to watch the original series again, which I haven’t done in five years or so.

Repeat month here at Nogglestead continues. I first read this book in middle school or high school, so it’s been a while since I’ve read it, but this is a repeat, albeit not a recent, unintentional repeat like Thunderball.

This was the first in his Benjamin Smoke series of books. The Smoke books didn’t go far; he would later go with another series character, Matthew Hope, and that would take off. Yes, I do have some of the Matt Hope books on my to-read shelves, and they will be reruns, too. But McBain was a writer who carried his quality on for more than 50 years, so I’m happy to reread many of them in a span of decades myself.

The schtick here is that Ben Smoke, a retired police lieutenant, does some freelance investigating because he wants to find a case he cannot solve. Most cases, he points out, are easily solved with dilligent police work and fall into the same ruts of criminal activity. Ergo, when he finds strange cases that might be impossible to solve, he gets involved and wants to be unable to solve it. Ultimately, though, he finds he can.

In this case (the first book, but not the first he has worked on; the book alludes to other capers preceding the printing), Smoke helps out a funeral director whose funeral home is broken into and a body stolen. Smoke investigates, even after the corpse is found abandoned in a vacant lot, because he uncovers the fact that many funeral homes in the area have been broken into without a loss of property except the one embalmed body. He works sort of with the police, many of whom remember him from his days on the force, but he gets shut out so they can don’t jeopardize the prosecution. In another funeral home burglary, a technician is killed, so the ante is upped to murder. Smoke beats the police to most of the witnesses and relevant people to question and, of course, solves the case.

It’s a quick read, a decent outing by McBain. I did pick up an additional thing this read that I would not have in my earlier run through it: Smoke hits a crow with his car and brings it into his home to nurse it back to health, which gives Smoke the opportunity to gripe several times about how he hates the Hitchcock film The Birds. Evan Hunter (Ed McBain) wrote that screenplay. It’s a bit of an injoke I would not have gotten in the middle 1980s.

Well, it would appear that I have read this book in paperback form in 2006. I didn’t mean to re-read it, but I did sometime pick up a hardback copy of it, and so I have.

I think the things I said then apply, but I’d like to add that reading it in close proximity to American pulp fiction of only a decade later shows a stark contrast in the British versus the American thriller styles. This book is very slow to develop to action, and the set pieces are interspersed with character building and scenery. I’d expect that’s why they translate better to film than some American thrillers; a lot of the thickness of the book translates into the shots and the varied action bits from the book get included more directly, whereas a slam-bang American thriller has to be cut down to size.

At any rate, to summarize the plot: James Bond becomes a health food fanatic, briefly, and meets an enemy agent at a spa. The enemy agent tries to kill him, but Bond survives and gets some revenge on the fellow. SPECTRE has a plot to steal two nuclear weapons and does. Bond is sent to the Caribbean on what he thinks is a wild goose chase, but he finds the SPECTRE agents responsible and, with the help of Felix Leiter, thwarts the plan.

A good interlude. The film follows the book pretty well, as I mentioned; however, I’m not sure how the beginning section really adds to the book other than to fluff it up, as the enemy agent from the spa is only tangentally associated with the main plot. I think Fleming is a little guilty of padding here.

Well, this is the next Executioner book. In the previous book, Mack Bolan receives word that his kid brother and his love-of-his-life are missing in Massachussetts, so Bolan goes to the East Coast to find them. He starts knocking off low end mob shops and leaves a survivor with a message: someone knows why Mack is back, and unless they want him to go really ballistic, they’d better make him happy. There is some mob dealing and wheeling, and Mack blows a lot of bad guys and their cars and/or homes up.

Note to self: I’m not going to be able to read 45 more of these contiguously; they are light snacks, for all their virtues as soul-searching, morality-affirming pulp fiction. I need something with a little more depth, or at least a little more variety, than a steady diet of these.

Which pretty much rules out an actual subscription to them. I’m not sure I could handle three of these a month, every month.

I hope you like The Executioner series. As you might know from previous entries, I do. So my wife bought me 47 of them for my birthday, which means I’m probably going to read a lot of pulp paperbacks this year and next.

This is the 11th entry in the series. The long-running characters are getting established, and the history which will be referred to in the future happens now. The plot? Uh, Mack Bolan goes to San Francisco, meets an attractive woman who may be an ally or an enemy, shoots up some mafioso, and searches his soul.

That being said, that’s one aspect of the early Pendleton entries in the Mack Bolan series: Mack Bolan has a certain depth, in that he questions what he’s doing, his mortality, and his morality a bit. The books often start out with a juxtaposition of an epigraph from a known (at that time) poet and an epigram from one of Mack Bolan’s war journals. So they do try to include a little depth beyond just the gun porn and explosions. That really elevates pulp in my estimation.

A good, quick read that thematically embraces good versus evil, somewhat reflectively.

This is a 3-In-One Volume, as the dustjacket indicates, which means I might have screwed myself as far as the absolute metrics are concerned. This is the 21st book I’ve read this year, but if I’d read individual novels and whatnot, I’d be on 24. But such is life. When I read The Green Mile, someday, I’m going to take advantage of just that.

Meanwhile, this is the first book of G. McDonald’s that I have read in seven years (the last, apparently, was Skylar in Yankeeland). I read a lot of McDonald when I was in high school, back when I read a lot. These books were much fresher then, about ten or fifteen years old. Like me. But he was one of the big three Mc/MacDonalds (Ross and John D. being the others). But Gregory was the lesser of the three in output and ultimate popularity.

The books are the first three in the Fletch series. The first was made into the Chevy Chase film, albeit with some elements altered to make it more cinematic. Strangely, I like the film a little better, as it ties some things up better. In it, an investigative reporter for a newspaper goes undercover on a beach to find out the source of its drug traffic. As he does that, millionaire Alan Stanwyk hires Fletch, in his drifter disguise, to kill Stanwyk, who claims to have a fast-moving cancer. Fletch investigates both lines and solves them, but the two plotlines are parallel and only slightly converge at the end in an unsatisfying demideus ex machina. The movie ties it up better.

In Confess, Fletch, Fletch visits Boston from his recent residence in Italy. He’s seeking some paintings stolen from his fiance’s father. The father has disappeared. The father’s third wife follows Fletch to find out where her paintings are. And someone is murdered in the apartment Fletch borrowed for his stay on the night he arrives. Inspector Flynn, another McDonald character, gives Fletch enough lead to investigate the murder as well as the stolen paintings, and Fletch resolves both. These plotlines resolve a little better.

Fletch’s Fortune finds Fletch blackmailed by the CIA to bug the rooms of journalists at a national convention where the primary target, a newspaper magnate, is murdered. Fletch investigates and solves the crime.

It’s an interesting throwback, the investigative reporter. Remember when they were relevant, briefly, in the 1970s and early 1980s? Remarkable.

A good read; I tore through it, relatively. I have at least one more McDonald on my shelves–a Flynn novel–and need to revisit McDonald’s other works as well. If that’s not enough to get you to consider it, nothing is.

This is a particularly timely book, as I am now staring at 40 myself and am getting started on my 2/3 life crisis as we speak. I’ve read Barry for 20 years, ever since that Dave Barry Borrowed Book Staining Incident of 1989. So I know how the next 20 years of Dave Barry’s life are going to turn out. Strangely, I also know how both of Dave Barry’s parents died by the time he was 40, too. That’s all very meta, of course, unrelated to the text, but lately I’m really sticking on when a book was written, where I was at the time, and where I and the author might have gone since. But you’re not here for that. Well, if you’re reading the review and did not get here from a Hong Kong Google search for Dave Barry Turns 40 book report, you might be here for that.

At any rate, this book talks about getting older back in an era when 40 was older. Now that the Boomers have come along, though, they destroyed the concepts of “older” even as Dave Barry makes fun of them here. You’ve got your bits on relationships and marriage, your parents and kids, and your body’s changes.

Dave Barry’s humor is topical, and (I haven’t read his recent work–when did the blogs all stop linking to him?) the pieces talk generically about politicians without (too much) asserting that one side is better than the other. That’s a nice respite. Although given the halcyon era we’re dealing with–B.C.–maybe I’ll discover his work changes in the 21st century. I hope not.

Recommended, of course.

This book is the source of the Charles Bronson movie of the same name (soon to be remade with Shia LeBouef, no doubt). I have it in the movie tie-in mass market paperback and have picked it up a couple times without actually reading any of it until recently.

It’s a Cold War era spy thing with a twist: The Soviets placed hypnotically controlled deep-cover agents across the country with programmed orders to destroy bits of infrastructure. In the decades since their insertion, they’ve become model citizens who don’t even know they’re Soviet agents until a coded message delivered via telephone activates them. A failed coup in the Soviet Union sends a dissident to America with the complete list of these agents and their code phrases–the Telefon book–to seek revenge on the Soviet Union by creating embarrassment or worse. So the Soviets send in a world-wise, cynical secret agent who likes the ladies. When he reaches America, he cuts ties with the local KGB operations to keep himself free of interference and of control. As he hunts the dissident, his superiors start to question whether he can do stop his target or if it would be easier simply to kill all the sleeper agents and their agent-in-place.

A good book, not as tense as a Clancy novel, paced okay prosaically but the action plays out over months where many days the Bronson-agent spends in his hotel watching the news because he has no current leads. Given the nature of the author’s history, he probably had insights into what real intelligence work was like. But, as I said, it paces and reads well.

Sometimes, when I’m at a loss about what to read next, I kick the can down the road a bit by selecting a play. Modern plays are pretty easy reads; semi-modern plays (like Ibsen) are heavier fare, but they buy me a couple days before I have to pick another book; but classics (like Shakespeare or Jonson) can take as long as a short book. So when I was at a loss and didn’t want to simply pick up another paperback, I picked up this Neil Simon play. I’ve read a bunch by him in the past (I Ought To Be In Pictures in 2006; Biloxi Blues, Chapter Two, and Broadway Bound in 2007; Lost in Yonkers in 2008; and Laughter on the 23rd Floor in 2009). So I expected a lightweight comedy.

This book is not a lightweight comedy; it’s more heavy dramatic fare. It centers around a recovering alcoholic returning from rehab to her New York apartment, where her remaining friends are an aging actor who’s starting to know he’s not going to make it and an aging woman holding onto her youth and beauty as much as she can. When the gingerbread lady’s seventeen-year-old daughter returns, she has hopes for making as best of a life that she can sober and, she suspects, somewhat boring. When her friends’ problems all erupt at a birthday party, she backslides and has to deal with the aftermath.

It all takes place in a single set–the woman’s apartment–and deals with a milieu and a set of characters I can only imagine through fiction. It doesn’t end with any resolution, nor with any weddings or corpses. It’s a very 1970s kind of thing, probably taking on a slightly taboo subject seriously and pointing out the ongoing nature of life. Not bad, per se, but not compelling. A quick read, though, as it’s only a play, and it doesn’t dismiss the affection I feel for Neil Simon’s plays, however little I actually relate to them.