Book 50: The Plot Thickens

The Plot Thickens
Edited by Mary Higgins Clark

I picked up this collection because I heard that it contained a Stephanie Plum story and, not one prone to being too picky in story collections, I decided to go ahead and read the whole book. I'm rather glad I did, because this anthology showcases many top mystery writers and gives readers an easy and entertaining look at their often contrasting styles. The variety in this collection is enormous: readers enjoy everything from a typical (and excellent) Stephanie Plum romp to psychological thrillers to stories that have little to do with the mystery genre at all. Though the challenge posed to the writers (each story includes a thick fog, a thick steak, and a thick book) often appears in contrived ways, many writers used these elements in ingenious ways and the collection is overall very enjoyable.

As any collection of stories must be, however, it is somewhat uneven. The first story sets an interesting tone for those expecting a series of typical detective tales; it has almost nothing to do with the mystery genre and seems set to disappoint. Upon further reflection, however, "How Far It Could Go" is an interesting piece that requires a bit of thought. The only really disappointing stories are "Too Many Cooks", by Carol Higgins Clark, and "Thick-Headed", an utterly indecipherable period piece by Walter Mosley that cannot successfully unite a well-rendered but unfamiliar narrative voice with a convoluted series of criminal connections. There are, on the other hand, several gems in this collection which make it worth hunting down. Any Stephanie Plum fan will be well-rewarded with the aforementioned "The Last Peep", which shows that Stephanie shines well on the small stage, possibly being better in the shorter format than in some of the lesser numbers novels. Mary Higgins Clark and Ann Rule deliver a predictable but nonetheless riveting stories that explore the world of the crime victim instead of the detective. The best story in the collection, however, may be "Foolproof" by Edna Buchanan, a story that takes one of the longest standing and best loved foundations of modern crime solving and shatters its credibility, doing so with an incredibly light touch and ending the story just at the perfect moment. The good stories in The Plot Thickens outweigh the bad in number, but the presence of a few absolute gems makes this collection a definite pleaser for mystery fans and for those looking for an introduction to the variety possible in the genre. This collection is definitely worth seeking out and reading.

Grade: B+

Book 49: 3001: The Final Odyssey

3001: The Final Odyssey
Arthur C. Clarke

It is fitting that the prologue to this book has been seen in at least one other installment of the Space Odyssey series. This prologue, which describes the alien creators of the giant monoliths and their experiments all over the galaxy, not only sets the tone for the final pages of this final chapter in the epic saga but also highlights one of its most frustrating features as it simply re-states the blindingly obvious while failing to explore new or interesting ground. 3001 does break new ground and in fantastic fashion; its description of the world of 3001 is surprisingly up to date and refuses to become too ridiculous. Clarke takes current trends and multiplies them by the power of a thousand years, arriving at a future that only strains the bounds of credibility as any such leap must. His scientific mind is well evident in this vision as he takes time to explain how future technologies may actually work, grounding them in science and making them seem right around the corner. Though he more or less ignores advances from his previous books (there is an inexplicable absence of any artificial intelligence like HAL's), his future vision is compelling and keeps the book afloat during its meandering, gee-whiz first half. This part of the book is wonderful and compelling even if it is only tangentially related to its three predecessors. Clarke shows time and again in the Space Odyssey series that his is more than capable of delivering an exciting and credible future vision.

Oddly enough, the book becomes less satisfying as it draws further away from Clarke as a visionary and tries to wrap up the real story lying beneath the surface of the story as a whole. The real action of the book, the part that ties 3001 in with its predecessors in theme and overall story arch, comes late and feels rushed, as if Clarke is trying to retrofit the Space Odyssey story into his picture of the future. There are more than the usual plot contradictions- though the timeline of the previous books is pushed forward by real-world events, there is no excuse for allowing spacecraft to land on Europa despite the oft-cited stern interdiction posed in 2010. This is a literary loophole that seems to be not only flaunted but inexplicably celebrated. This is one of several things which just don't make sense. Clarke seems unable to draw an appropriate balance between propelling the story of the new Frank Poole and that of the monoliths lurking throughout the Solar System. When the monoliths do enter, they seem contrived and though the method of story resolution is intriguing and holds within it a useful (if painfully preachy) moral angle, it simply feels rushed and, well, out of character. I was expecting far more pagjes and a sense of resoultion when the book simply ended. The endgame's events are murky at best and do not survive the scrutiny of a first closer reading.

It is hard to judge 3001: The Final Odyssey because it is fundamentally torn between two stories. The first story is the world of 3001 as a continuation of the events in the previous three Space Odyssey books. This tale follows the technological developments of the earlier books and provides a carefully considered foray into the logical conclusions of current technological advancements. This book is engaging and lively, full of a sense of wonder but grounded in scientific reality. The second story is the continuation of humanity's dealings with the monoliths, a race against time correctly placed a thousand years into the future but which only becomes important after the world of tomorrow is described. Clarke spends so much time building up a sense of setting and time that the action-packed part of his narrative is by far the least interesting. Jammed onto the end of the first story, this adventure is interesting and does tie into the world of the monoliths but is ultimately unsatisfying, owing in large part to the rampant repetition of previous material that mars discussion of the monoliths and dominates the new information. 3001: A Space Odyssey is more brilliance from Arthur C. Clarke but unfortunately cannot settle on its theme or concentrate fully on what it needs to to be entirely successful. Overall, this book makes a neat ending to the Space Odyssey adventures, but could show more deliberate planning and even a greater sense of its place in the series. The Space Odyssey novels go out with a bang, but readers' confusion can reduce the effect to an undeserved and disappointing whimper.

Grade: B

Book 48: 2061: Odyssey Three

2061: Odyssey Three
Arthur C. Clarke

Clarke returns to his successful and classic Space Odyssey series with this third installment, set a convenient fifty years after the events of the second book and following up on familiar characters and situations from the series. Other than the occasional nod here and there and the general framework in which the narrative operates, however, 2061 can be easily distinguished from its two predecessors. Though it fits seamlessly in to the time frame and general universe of the series at large, incorporating familiar characters, a shared history, and even material from the previous book, 2061 lacks the sense of higher purpose and cosmic destiny that drives the series and makes it so magnificent. The plot is interesting and more than adequate, as is the writing, but as the story glides along without the greater implications readers are accustomed to in the series, it seems increasingly standard. This lack of purpose further handicaps the work when, at the end, the Star Child makes a surprise cameo: instead of seeming like a logical completion to the story, this appearance comes off as a contrived way for Clarke to retroactively insert greater cosmic and series relevance into the preceding plot. 2061 is definitely a novel in the Space Odyssey tradition, but its distinct lack of cosmic scope means that it cannot live up to expectations.

That said, it is still a marvelous work of speculative fiction. Set in the compelling and ever-expanding Space Odyssey future, 2061 takes the world that Clarke has meticulously constructed and expands it in relevant and interesting ways. It is obvious by the middle of 2010 that Europa is the next logical stop for the intrepid astronauts of Earth, and the book's plot is closely linked with the other books thematically and through specific events. Though a couple of chapters get off track, they depict a future vision that is surprisingly realistic in its optimism. Nuclear weapons have been outlawed and Clarke's vision of the development of China (particularly his brilliant skewering of both the one-child policy and the idea that China is a hard-core communist nation in one fell swoop) is eerie as China looms on the horizon as a major global power. Though the revolution of globalization was beginning while Clarke was writing his book, the development of the Internet has led humanity a lot closer to becoming one state than he probably imagined, and because these conclusions seem more like a logical outflow of current events than idle speculation, the book resists becoming outdated in its predictions. Its only really dated prediction is in its references to developments in South Africa, but that country's turbulent colonial and apartheid past makes this vision reasonable enough to escape deep skepticism. Sections of the book describing worldly events are a little distracting from the space-based narrative at large, but Clarke's vision is interesting enough that these diversions are pleasurable and enlightening.

2061 does run into certain construction problems that are more distracting, however. Some of its coverage of future world events appears at random and isn't well integrated into the text at large, and one chapter in particular is interesting but only tangentially relevant to the plot line of a minor, minor character. Additionally, certain elements of the backstory are ill-thought out and explained with an absolute lack of clarity. The end of the book is particularly troublesome as a crucial scene is skipped entirely, completely ruining the pacing of the book and far too easily dispelling tension that had built up through a few previous chapters. The characters that dominate the plot simply take a back seat as Clarke clumsily brings in the Big Picture in the book's final moments, an ending that makes no sense and that blows open a gaping plot hole that contradicts the final warning of 2010, a warning that is echoed and referenced time and again throughout all of 2061. Clarke simply disposes of this, and his major plot threads, at will and makes no genuine attempt to follow up on his excellent sense of character. The ending is enigmatic, sure, but it is too sudden and too unexplained to fit in to the preceding narrative at all except to have its characters allude to recent events. 2061 is, despite its flaws, an excellent work of science fiction that will hold readers' interest as it zooms through the Solar System. Arthur C. Clarke again demonstrates his vast and vivid imaginative powers but is in some ways hampered by the brilliance of his previous work. 2061: Odyssey Three is definitely worth reading for science fiction buffs and anyone who enjoys a good futuristic space story, but be warned that it deviates a bit from the scope and focus of the first two books in the series.

Grade: B+

Book 47: 2010: Odyssey Two

2010: Odyssey Two
Arthur C. Clarke

Though the events in this book are said to take place in a parallel universe to that of 2001: A Space Odyssey, 2010 is by all accounts a direct sequel. Though there are a few inconsistencies between the two works, the most glaring of which is the movement of the first book's main action from Saturn to Jupiter, this proves a worthy successor to the sci fi classic. Clarke continues the saga of the failed Discovery mission to send readers on another voyage through space that will reveal new truths about the mission and the history of Earth itself. Clarke does a fantastic job mixing high space adventure with subtle hints of philosophy and even psychology. The interactions between the Russian and American crew members seem incredibly realistic, if a bit too nice considering the vast amount of time they've spent isolated on the way to Jupiter, and each member of the crew has a distinct and interesting personality. Clarke doesn't sacrifice human relationships for action, and though there is plenty of excitement and science to go around in this book, Clarke's focus on humanity highlights the philosophical currents that run throughout the book. His treatment of Dr. Chandra in particular is illuminating: the creator of HAL seems at times less human than his creation and though Clarke can be a bit blunt when dealing with Chandra's inability to engage in human interaction, his presence says volumes more about increasing reliance on technology than an academic paper could. Clarke is wonderful at balancing story, characters, science, and philosophy and blending them together to create an original and stunning work.

2010 stays mainly on track as it follows the crew of the Russian space ship Leonov out to Jupiter to investigate the corpse of the Discovery and a mysterious monolith orbiting near Io. A side journey with new Star Child Dave Bowman seems distracting at first, but is later weaved sufficiently into the fabric of the story of the Leonov. Despite Clarke's love of raising tricky philosophical dilemmas and an again uncanny knack for predicting future attitudes twoards space and technology, his tendency to leave his plots unfinished and unexplained is annoying and sadly plagues this book. Readers latch on to the stories of the Leonov and, later, Bowman only to have the plot explode unexplained at the end of the book. Some ambiguity is certainly desirable when dealing with problems of such cosmic proportions, but Clarke leaves a bit too much open-ended at the close of 2010. Whether this is looking towards a sequel or not I don't know, but this feeling of an unfinished story also hampers the power of 2010 as a sequel to 2001. Overall, Clarke delivers an exellent follow-up that, despite feeling a bit raw at times, fits in perfectly with its predecessor. Nods to 2001 only become ridiculous when Clarke reprints long passages from the earlier book and even then they are at least relevant, if unnecesarily repetitive. Clarke adds new characters at will while keeping the universe and feel of 2001 more or less intact and 2010: Odyssey Two is a worthy addition to the Space Odyssey series, a serious examination of humanity's place in the universe lurking inside a good old-fashioned space adventure. Clarke has plenty of imagination to go around and I look forward to reading the next sequel in this worthy series.

Grade: A-

Book 46: 2001: A Space Odyssey

2001: A Space Odyssey
Arthur C. Clarke

I finally got around to reading this classic, and it certainly didn't fail to impress. Magnificent in scope yet relevant to the last, this book truly deserves its status as a classic both inside and outside of science fiction circles. Though its plot pace is slow and its prose doesn't aspire to much in the way of poetry, the book hardly ever drags and in fact consistently ratchets up the pace until it is speeding along faster than light with the character who emerges as its first interest. The greatness of Clarke's novel exists despite the fact that it attempts to reflect upon many vastly different themes. Where there should be discord, however, there dawns a strange harmony, complete with balancing counterpoint. The main action shifts rapidly through time and space with no apparent connections, even after some vague explanation is offered. This should distract the reader's interest but Clarke somehow manages to carry the implications of the novel's first act through to its end; though he telegraphs the plot a bit too often with annoying cliche leading lines (think "little did he know"), the plot always heads in an interesting and fresh direction. This lack of character focus is also reflected thematically, with Clarke tackling everything from international relations to the theory of evolution to interstellar travel to, perhaps most importantly and consistently, the promise and perils of future technology. The novel should feel dense, and it would be easy for a lesser talent to turn it into an uninteresting lecture, but instead it soars, seeking to spur thought instead of stunt it.

It is the success of this wide focus that makes 2001: A Space Odyssey so great. Though its final pages try on a scope a bit too big for size, trading any sort of clarity in for grandiose imagery that doesn't quite translate even given the attempt at vagueness, its vast scope gives it depth and a sense of purpose. Clarke is the master of this technique, carefully crafting a story that is fully self-contained and yet which cannot escape critical interpretations. More amazing than this delicate juggling of exposition and subtler thematic construction and exploration is the book's remarkable accuracy in its predictions. Written before men even went to the Moon, Clarke's visions of interplanetary travel still lie far in our own future but seem plausible and achievable. He has clearly done his homework and his vision escapes the retroactive silliness that so often plagues interplanetary narratives. The book still feels groundbreaking. Though he does not fully predict the prevalence of computers in the real 2001, his vision of HAL's intelligence is haunting and seems to be lurking around the corner, inching closer with every new development. Scarier still is his vision of humanity's evolutionary descendants- he correctly predicts our increasing reliance on technology and carries this trend out to its logical conclusion. This is a haunting future vision in and of itself but the fact that it resonates so well with the real 2001 (or 2008) is scarier in itself.

Clarke is a masterful writer with a firm grip on science and a bountiful imagination. His intelligence is transparently displayed throughout 2001: A Space Odyssey but it is never overwhelming. It comes in his meticulous attention to detail and his uncanny knack for correctly extrapolating contemporary trends, which I choose to chalk up to more than dumb luck. The book itself is somewhat disappointing in its literary execution; dialogue is hardly realistic and plotting is at times agonizingly slow, but this portrait of humanity rises above its need to excel in this arena. What Clarke may lack in technical skill (which is itself very little) he makes up for in vision and pure execution- from the unimaginably prehistoric to the terrifyingly close possibilities we now live with, Clarke weaves a convincing and gripping tale. When the plot begins to unravel, the book does go with it, but this construction parallels the journey it describes. By the end of the book, the story seems to float away and leave the reader looking upon the world as much as its final character does. 2001: A Space Odyssey is an exercise in scope, wonder, and majesty that excels in every way and is delightful for those willing to expand their imaginations and review the scope of their own lives in the vast history of space travel, humanity, and the universe.

Grade: A

Book 45: Hot Six

Hot Six
Janet Evanovich

What can I say? These little suckers are addictive, and though it is not quite as strong as all of its predecessors, Hot Six is a fine addition to the ongoing adventures of oddball bounty hunter Stephanie Plum. The opening tone of this book is fantastic as Stephanie knows that she is in entirely over her head. Hot Six also turns in a wonderful set of performances from the supporting cast in and around Trenton. Grandma Mazur hasn't been this spot-on or this funny since she featured prominently in Two for the Dough, and it is nice to see her get some actual plot development. In fact, Hot Six is more a break from the norm than High Five ever was, even though we are back to Plum's familiar territory as a bounty hunter seeking an actual FTA. Because, however, that FTA is her mentor, friend, and possible love interest Ranger, Stephanie does little bounty hunting and allows Evanovich to add incredible depth to the story she weaves in between novels. This book gives readers a peek at Stephanie's life between blowing up borrowed cars and introduces a wonderfully spacey side character known as the "Moon Man." Evanovich uses Hot Six to showcase her incredible ability to draw a complex portrait of a modern Jersey that looks upon itself with as much disdain as the rest of the United States. Everyone and their grandmother packs heat while rude hand gestures outpace car horns as in-traffic indicators of temperament. And in the midst of all this normalcy Stephanie is at the heart of another crime mystery. If Evanovich can be faulted for the depth of her vision, it is only in assuming that Trenton possesses so many intricate crime circles, but they keep the narratives fresh and do, after all, create a nice (if a bit canned) plot for these wonderfully drawn characters to push along. Indeed, Evanovich's greatest fault in this book is when she resorts to painful stereotyping of an Arabic character, giving him dialogue that is downright offensive and really has no place in the printed word, let alone amongst a cast so richly imagined. Evanovich does, however, come out on top with another engaging mystery for Stephanie Plum that leaves readers again wanting nothing but more misadventures in this charming pip of a series.

Grade: B+

Book 44: High Five

High Five
Janet Evanovich

The always spirited Stephanie Plum returns in this, her fifth major effort and a book that takes a somewhat different approach than the previous four installments of the series. High Five has Stephanie out of her element not as a bounty hunter per se but rather as a detective of sorts for her family. Though Stephanie is searching for her missing cheapskate uncle instead of a wanted fuguitive (or is Fred wrapped up in some shady business of his own?), she has plenty of mishaps readers have come to expect and, as usual, the missing person is far from easy to apprehend. Though this book takes a bit longer to find its element, and Stephanie's voice struggles accordingly in the first few chapters, it eventually catches up to speed and emerges as a fresh and hilarious addition to the refreshing series. Stephanie herself shows signs of growth and increasing competence that must be coming with her level of experience; though she is a refreshingly incompetent foil to the typical mystery hero(ine), she is no longer quite as inept as she used to be. This development coupled with the return of many previously existing players and a sense of overall plotting that isn't confined to one or two books makes the Stephanie Plum series downright addictive. Evanovich again showcases her snappy style and brings Stephanie to life in wonderful Technicolor, flaws and all. Stephanie is someone readers can relate to, a normal girl in over her head who knows it and yet who comes out again and again on top. Despite the loose ends of the plot that don't get sufficiently wrapped up at the end, High Five is a worthy addition to the tales of Stephanie Plum's unorthodox life as a bounty hunter and leaves readers eager for the next chapter in her ongoing saga.

Grade: A-

Book 43: The Fourth Bear

The Fourth Bear
Jasper Fforde

After reading the first book in Fforde's Nursery Crime series, I was a bit disappointed in the execution but entirely enthralled by the conceit driving these mysteries. Unfortunately, this book takes the bad elements of its predecessor and expands upon them, dropping any hints of subtlety or nuance along the way and gloating in the author's cleverness. This book does, like the last, take a familiar childrens'` story and brings it into the real world of murder, mystery, and intrigue; this time the theme is the story of Goldilocks and the three bears, and though the book has its faults its groundwork is far more stable than that of The Big Over Easy. Whether this is because Fforde has more to draw on than four lines of poetry or because he has learned from working within this world is unknown; what is clear is that Fforde has become far more comfortable with his parallel alternate reality and can execute an interesting murder mystery within the confines of that world. Jack, Mary, and Ashley continue to be well-defined and rounded as we learn yet more about their personal lives and, though their side stories are not always relevant to the text as a whole, they are compelling and provide for both depth and laughs.

In fact, this book would be a huge improvement on the last if it stuck to its main plot and slight character side stories, most of which are executed quite well. Where Fforde stumbles is when he becomes too aware of himself and his story. It is charming the first couple of times characters refer to common plot devices by number (along the lines of, "You're not going to pull a plot device twenty-six, are you?"), and it prevents the book from taking itself too seriously, but these asides eventually descend into pure unintelligent farce. Fforde falls back on them for easy laughs time and again, and by the time the characters themselves beat up Fforde on certain aspects of the plot, this breaking of the fourth wall seems only self-serving, a sort of inside joke about how amazing Fforde feels he is. What this book illustrates, however, is that he has the chops, if only he didn't realize it. More frustrating, however, is his absolute waste of an original and hilarious idea. Fforde introduces a used car salesman who promises Jack that the car he's buying will never age or see damage, no matter what he does to it (sound familiar?). Instead of drawing out the allusion and allowing it to build, Fforde names the salesman straight up (shockingly, Dorian Gray) and has him show Jack the car's magic painting. This is a brilliant idea, absolutely hilarious, and instead of running with it Fforde assumes the stupidity of his readers and pleases no one. Even those who are unaware of Wilde's classic would surely find the sub-plot's mystery intriguing, and die-hard readers would be pleased to have their intellect stretched a bit. Instead of a book full of laughs, Fforde gets one cheap groan.

That is the fundamental problem with Fforde's execution of this series: Fforde's propensity for sheer, pointless randomness in his world and the continued explanation of his jokes- it is not just nursery rhyme characters that populate his Reading, an expansion that hurts his narrative but does not sink it, making him look naive and pretentious instead. Certain elements are handled consistently well, and they are the oddball ones. The race of aliens he has created, the Rambosians, are hilarious and serve a purpose within the narrative. Fforde explains at length how they tick and brings them to life without being overbearing or patting his own back too often. The first book's inclusion of a Greek Titan went incredibly well and I am hard pressed to think of a more unique and thought-provoking treatment of the Great War than a theme park based on the Battle of the Somme. Even structurally speaking, the blurbs that begin each chapter, ostensibly from the Bumper Book of Berskshire Records, are hilarious and, as "primary sources," are free of Fforde's overworking. What is most frustrating about The Fourth Bear is that Fforde often allows his talent to simply shine through but doesn't trust it enough to carry a novel. The improvements over The Big Over Easy alone show that Fforde has learned more about constructing a mystery and can operate successfully in this world now that it is fully imagined both in his and readers' minds, yet Fforde is not content to let a good thing simply be. Fforde exhibits that most exasperating of authorial pretentions: he doesn't trust his readers to get the joke unless he holds their hand. There is a good mystery at the heart of this book, and if Fforde would realize that his Nursery Crime Series books are indeed for grown-ups and stop using it as an excuse to showcase how clever he knows he is, they could be classics in modern humor. Instead, they come off as childish and, while worth reading, offer unnecessary exasperation as their brilliant premise and good writing go slowly to waste.

Grade: B

Book 42: The Big Over Easy

The Big Over Easy
Jasper Fforde

I picked this book up completely at random, based on my vague recognition of the author's name and the vibrant, happy coloring of its spine. I enjoy a good alternate reality, and Fforde's book concocts a compelling one in which nursery rhyme characters and situations actually occur in a more-or-less realistic modern Britain with a few additional fantastic touches. Fforde intelligently and interestingly intersperses familiar characters and situations into a modern mystery that holds its own as the central plot for the book though it occasionally becomes too silly or abstract for its own good. On the whole, Fforde cannot seem to decide whether to take his world seriously or to gloat in its fantastic delights, and the book oscillates oddly between being straight-faced and becoming a parody. The Big Over Easy does manage to level interesting criticism and subtle jabs at the mystery genre in general, with the police department focused almost entirely on making its crimes and investigations look good in print, a process which has been perfected by the perfectly irritating Friedland Chymes. Fforde uses Chymes and his incredibly inflated ego to parody both ever-popular crime shows and the literary genre's fascination with over-the-top super-detectives who have no basis in reality. The Guild for famous and customer-pleasing detectives is an excellent send-up of the mystery genre and gets good laughs out of the notion that the most venerable Sherlock Holmes was both real and the inspiration for modern detective work. What he lacks in subtlety he makes up for, for the most part, in charm.

Fforde's send-up, however, falters in a few places as his own mystery becomes convoluted beyond recognition. There are many valid reasons why the mystery genre is as vibrant and popular as it is, and he focuses too much energy on lampooning them to pay dutiful attention to his own plot, which spirals out of control at the end of the novel. This may be a purposeful reflection of the genre's propensity to introduce unnecessary complications into its cases, but Fforde is simply careless and throws wrench after wrench into the machine until it grinds to a scraping halt. Even the most cynical parody needs to rest on its own merits as well as the criticism it levels and it is unfortunate that Fforde loses sight of the details in his quest for a bigger critique. The mystery he concocts in his fully-imagined world is compelling and reflects on our shared reality but its conclusion borders on the preposterous and makes it easy to forget what a good and thorough book The Big Over Easy actually is. Equally frustrating is the initial inability of Fforde to suitably plunge his readers into this parallel reality. Though his imagination is unlimited and the world of Jack Spratt and Mary Mary is fully realized, Fforde's opening descriptions of Reading are clunky and fail to offer an engrossing sense of place or time. It is immediately obvious that nursery characters exist, but it is not immediately clear how far they are integrated into the world or what kinds of people notice and interact with them. This is a shame because after a few chapters and a few well-placed fake news clippings the world becomes clear and engrossing.

Small literary missteps such as the unraveling of the late plot and the unaccessible nature of the setting of The Big Over Easy mar what is otherwise an excellent work of an unbounded imagination. Fforde is incredibly thorough and gives his characters interesting and believable character histories that do, in time, help to construct the world in which the novel operates. Despite its flaws and its ridiculous ending, The Big Over Easy is a compelling mystery that is hilarious and does reflect in interesting ways on the mystery genre at large. Fforde has succeeded admirably at taking the stuff of nursery rhymes and translating it into a modern legal context, a translation most vivid in his treatment of the familiar three little pigs motif. The novel reflects on the absurdity of both beloved nursery rhymes and modern police procedures, introducing criticism none-too-subtle but biting nonetheless. Most of all, the book is simply fun, and though it may take a while for readers to get immersed in the world of The Big Over Easy, it is a light and rewarding read that should please fans of the mystery genre, so long as they can take a few jabs here and there, as well as other readers interested in the re-invention of timeless classsics or those just looking for a lighthearted good ride.

Grade: B+

Book 41: Four to Score

Four to Score
Janet Evanovich

Trenton, NJ, beware. Stephanie Plum is back and is hot on the trail of a car thief intent on revenge against her slimy ex-beau. Despite the fact that Three to Get Deadly is a relative disappointment and that this is the fourth book in a series, Evanovich keeps Stephanie and her cases fresh and refuses to become too formulaic in a genre that thrives on convention. Sure, the key elements are in place: readers know by now that Stephanie is on a near-impossible case that will somehow turn out to be bigger than it appears and which will be happily resolved after some creative bungling by Trenton's favorite female bounty hunter. That's why we read the books, which are a delight and which make the innovation between installments even more fresh and interesting. Four to Score builds on the Trenton we know and love while introducing a few new and fully rounded characters. Evanovich excels at characterization; hardly any characters fit basic stereotypes and even when they do they have interesting backstory or can function on their own as realistic representations of familiar faces. There is only one consistently disappointing relationship and even that is handled well enough to not clash terribly with the less stereotypical parts of the book. Evanovich's ability to draw intriguing and realistic portraits carries this book as the FTA develops a personality all her own and leads Stephanie on a unique wild-goose chase that is as happily aggravating for readers as it must be for Stephanie. Evanovich comes back from a one-book slump with Stephanie's humor in full force, delivering the rapid and consistently hilarious narration and dialogue readers have come to know and love through the series, recycling old characters in inventive and exciting ways and elaborating on Trenton without anything seeming too convenient or to unfairly stretch the bounds of reality. A sense of reality permeates Stephanie's adventures and her gradual growth and lingering incompetence combine with Evanovich's excellent senses of setting and speech to create a fun and inventive mystery that should delight fans of both Stephanie Plum and the mystery genre as a whole. Four to Score is a return to top form for Evanovich and shouldn't be missed in this wonderful series.

Grade: A-