convenient props & facile plot devices
this book i just finished reading, inkheart, was good, but the writer had an annoying habit of placing things conveniently into the story. like, afterthoughts that would sure help out, but they weren't placed before, but she just sort of placed them in when needed. annoyingly unsupported props & devices. as per such prigzamples:
- at dustfinger's signal, farid had drawn his knife, too. dustfinger had bought it for him in the village by the sea.... [p348]
isn't that convenient. a knife, just when he needed one, and ooops, forgot to tell you dustfinger had bought it for him earlier.
- basta's breath smelled of mint, fresh & sharp. apparently, a girl he'd once wanted to kiss had told him he had bad breath. [p357]
again, quite convenient about the minty fresh breath with the facile explanation thrown in as an afterthought.
- at that, fenoglio reached under his pillow and put a flashlight in her lap. [p360]
what is he, a magician? hellz to the no! too convenient! too easy! handy dandy flashlight right when they needed it.
sheesh. have a little pride, as an author. fold your ideas into the story. build the plot. don't rely on the consistent use of the prop ex machina.
also, the geographical setting is disturbingly unclear. are we in america? europe? what's with the tunnels & the seashore? the setting in time is also unclear to the point that it's not interesting, it's simply downright annoying. are we in "present day" or "future"? the only thing that is clear is that we are not in the "past", but based on the descriptions of some of the locales, we are either in the now or in some sort of parallel universe or in some sort of post-modernistic future. the world that is given is not supported sufficiently to make it seem real, and the leap of faith to accept it as such is simply too great a leap.
i am not sorry i read it, b/c i wanted to know what the fuss was all about. however, now, i do still want to know what all the fuss is about. at least i can speak from experience when i query... what is all the fuss about? in the post-harry era, are we so hungry for magic that we will stoop to this type of poorly written stuff?
currently reading magyk, book one of the septimus heap series. intriguingly, septimus dies right off the bat! i have my theories as to where he ended up, and who jenna really is, but i'll keep those to myself for now. so far, the world built by angie sage is much more attractive than that built by cornelia funke. but, what would you expect from sage vs. funke!
bare yellow bulb, vol 1
now, another set of rules that i wish to discuss: crossword puzzle rules. anyone who does crossword puzzles knows there are rules. okay, i am not talking about write the letters in the squares rules. that's just... dur. i am talking about the clue rules. there are rules about how to set up the clues that give little useful hints like whether the answer is an abbrev or is a phrase [2 words], and so on. i know you can see what i am doing here. do you do crossword puzzles? if so, you know that sometimes the writer doesn't follow the clue rules. there is nothing more aggravating when you're trying to do a puzzle than to realize that the writer didn't follow the rules. it's like trying to read a map without the legend. it's basically just stupid on the writer's part.
i would have to say my favorite cereal is cap'n crunch. i am also a fan of cheerios & honey-nut cheerios, but frankly, the cheerful o's make me a little gassy. uh-huh. also a fan of life. the cereal, dur. i mean, i am a fan of life as in living, double-dur. but, we are discussing cereal. i am a fan of life cereal. so, #1 is cap'n crunch with probably life in #2. cheerios #3. wait. wrong.
went to see this movie tonight. it was surprisingly spiritual. of course, i had really very little idea what it would be like - just some snippets from the newspaper - but i simply don't expect that level of spirituality from hollywood. it was actually more than mere new-age spirituality - it was christianity. it was about hope, esperanza, it was about patience, kindness, generosity, happiness. but, it was fundamentally about our relationship with the creator of the universe. i would have liked a different ending. the ending was dramatic, but somehow did not tie things up satisfactorily - seemed too easy. very unexpected in the movie was a superior performance by george lopez.
olympic women's beach volleyball. u-s-a team had 14 errors in the match that would have put them into the medal round. you really cannot expect to win with that level of errors, and they did, in fact, not win.
did you see michael phelps win his 8th gold medal of these olympic games? they just now called him the greatest olympian ever, and i suppose they are basing that on medals won, but aren't there athletes who compete in sports where there aren't that many medals available? i mean, what about... say... doubles tennis? there is only one medal for women's doubles tennis. venus & serena williams won the gold. are they somehow less great as athletes because they did not win 8 medals? there is no way in their sport to win 8 medals in 1 olympics if you are a tennis player. i am not sure the quantity of medals equates to the greatness, precisely. what do you think?
never did watch two & a half men or everybody loves raymond when these shows were on in prime-time, but sometimes do catch them now in syndication. if you have ever watched them, then you know that each is the same over & over again. i don't know how they lasted so long. two & a half men is about how the one brother's a playboy drifter and the other's a more-stable professional chiropractor, but ironically, the more-stable brother is the one who lost his home but won his son in a divorce and now the brother&son live with the playboy brother in his bachelor pad which is kept up by a cranky, smart-alec housekeeper and frequently visited by the brothers' alcoholic mother. the plot every week is that the playboy is the bad-boy who turns out to be the unexpected hero, and the more-stable
brother is the neurotic loser who cannot hold his life together.
friends, seinfeld, and cosby, the situations were different and the resolutions were different. i mean, of course, there are recurring themes in these shows. that's what gives the shows continuity and life, but each episode was not the exact same. also, with friends, seinfeld, and cosby, the characters do change, grow, develop... slowly - like people change, grow, and develop in real life. over the years, the characters change, the situations change. on raymond and men, the characters & situations do not seem to change at all.
i approve of oatmeal raisin cookies w/ a cup of coffee. yes, of this i approve. the only thing that would be better would be oatmeal scotchies, but you know, nobody ever makes those. like chess pie - a forgotten dessert. mmm.... oatmeal scotchies.

this book i am reading -- touchstone -- i am finally nearly done with it, and since i have spent so much time with it, i am going to miss the characters quite a bit, but what i won't miss is the pace. laurie king is generally a faster-paced writer, but this book was rather slow. good, but slow. part of the slowness was the natural tendency for life to run slower in the time period in which the story is set -- britain in 1926 -- but part of the slowness stems from a technique king employeed in this book. she told the story from many points of view, specifically telling & retelling particular pieces of the story from different p-o-v's, making one feel one was backtracking across the landscape. for every step forward, there was a step back, or if not back precisely, then sideways. it's a valid technique for sharing p-o-v, but it makes for a feeling of starting & stopping. the pace, as it were, is jerky. it is billed as a novel of suspense, but something is missing in the buildup. it is suspenseful when the plot is moving, but simply frustrating when it is not. 