The Children of Men
P.D. James
This book is difficult to assess, partially because its premise alone is so intriguing that any treatment at all would have potential. The plot is a bit different than I would have expected, but James is able to master her dystopia by combining description with plot and first- and third-person narration. The book is a multifaceted work that doesn't get lost despite its shifting focus, built on an original premise and ending with both hope and despair, a conclusion that is at once too abrupt and yet utterly satisfying.
James excels in characterization, which is surprising considering how little of the plot is actually spent in action sequences. More of the book consists of its main character, professor Theo Falon, reminiscing and theorizing. At first I was skeptical, but as the omniscient narration kicked in and the plot started moving, I could better appreciate the interwoven forms of narration. They interlock perfectly to describe the state of mind that comes into play when the world is faced with the end of humanity, which becomes the focal point of the book. Being a dystopian work, this is probably to be suspected- after all, how many of them have diaries in some form?
The plot itself is also interesting. James does have some elements of general disillusionment but the book doesn't function as a straight satire of human nature and tyranny. Rather, it is more of an exploration into the human mind and its reaction to destruction. The desire for comfort and security, and the fact that most people would really prefer that to democracy, is eerily reminiscent of American placidity in recent years. Lest you get the impression that this is an English response to Bushism, check the copyright- the book was written in 1992, at the dawn of democracy across the former Soviet Union. James touches on many universal truths in this book without becoming excessively dogmatic. There are passages that run the risk, but Theo's continuing indifference and gruff attitude towards reform make him realistic in a fashion often lacking in dystopian fiction.
James has constructed an interesting future, a future without a future. Her predictions regarding human reactions seem spot-on, though there are the usual twistings of truth and turns of convenience that are evident in all fictions. The book starts to get a little too obviously weighty in parts, but it usually rights itself. The end is carefully ambiguous and deliberately so, making the reading of the book a personal experience more than a set retelling of fictional experiences. For a quick but deep read, this book has a lot to offer.
Grade: A
P.D. James
This book is difficult to assess, partially because its premise alone is so intriguing that any treatment at all would have potential. The plot is a bit different than I would have expected, but James is able to master her dystopia by combining description with plot and first- and third-person narration. The book is a multifaceted work that doesn't get lost despite its shifting focus, built on an original premise and ending with both hope and despair, a conclusion that is at once too abrupt and yet utterly satisfying.
James excels in characterization, which is surprising considering how little of the plot is actually spent in action sequences. More of the book consists of its main character, professor Theo Falon, reminiscing and theorizing. At first I was skeptical, but as the omniscient narration kicked in and the plot started moving, I could better appreciate the interwoven forms of narration. They interlock perfectly to describe the state of mind that comes into play when the world is faced with the end of humanity, which becomes the focal point of the book. Being a dystopian work, this is probably to be suspected- after all, how many of them have diaries in some form?
The plot itself is also interesting. James does have some elements of general disillusionment but the book doesn't function as a straight satire of human nature and tyranny. Rather, it is more of an exploration into the human mind and its reaction to destruction. The desire for comfort and security, and the fact that most people would really prefer that to democracy, is eerily reminiscent of American placidity in recent years. Lest you get the impression that this is an English response to Bushism, check the copyright- the book was written in 1992, at the dawn of democracy across the former Soviet Union. James touches on many universal truths in this book without becoming excessively dogmatic. There are passages that run the risk, but Theo's continuing indifference and gruff attitude towards reform make him realistic in a fashion often lacking in dystopian fiction.
James has constructed an interesting future, a future without a future. Her predictions regarding human reactions seem spot-on, though there are the usual twistings of truth and turns of convenience that are evident in all fictions. The book starts to get a little too obviously weighty in parts, but it usually rights itself. The end is carefully ambiguous and deliberately so, making the reading of the book a personal experience more than a set retelling of fictional experiences. For a quick but deep read, this book has a lot to offer.
Grade: A
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