The Big One.

I read a lot of novels. I became a voracious reader as a kid, and very little has changed since... well, no, one thing has changed. I no longer feel an obsessive need to finish every book I start. Some just don't hold my interest, and I find myself putting them aside and picking up something else. Sometimes I return to the books I've put aside and sometimes I don't.

One of life's greatest pleasures, for me, is finding a book that's so bloody damn good that it won't LET me put it aside. The kind of book that grabs me by the throat and will not let me go. Those sorts of books are not easy to find, but I treasure the authors who deliver them regularly.

Jack Vance had that effect on me, for decades. Bernard Cornwell still does. Stephen King too. Once I start a book by any of these worthies, I am hooked. I will keep reading till the end.

Recently I have had to add James S.A. Corey to that list. Which is annoying, because I know both halves of James S.A. Corey. One of them was a student of mine. The other was my proto-minion. How the hell did they get so damned good?

However they did it, it's done. Now, I am sure there were lots of great SF and fantasy novels published during 2016 that I have not read yet (I read lots of books, like I said, but not all are SF or fantasy, I read lots of history and mystery and historical fiction and biographies and non-fiction as well, and I read older books too, not just stuff from the current awards year, so I'm always trying to catch up). Of all the SF novels from 2016 that I have read, however, this was the best:



For me, it wasn't even close. I expect I will fill in all six slots on my Hugo nomination form with the titles of worthy contenders, but this will be the first one I write down.

I commend it to your attention. Jimmy Corey deserves his shot at The Big One.

((Which frosts my ass. Because if Jimmy actually WINS the Hugo, Ty will be unbearable.))

P.S. The EXPANSE tv series is amazing too. Have you guys been watching season two? I'm also going to be nominating "Leviathan Wakes," the final episode of season one, for Best Dramatic Presentation, Short Form.

So we were watching Dennis Leary's rock comedy SEX&DRUGS&ROCK&ROLL t'other night. The plot of this episode involved Gigi firing her band, the Assassins, and bringing on a new band of younger musicians to take their place.

The name of new young (fictional) band was... wait for it... Red Wedding.

Sooner or later, everything comes around in a big circle, doesn't it?

In 1983, when I wrote my rock novel THE ARMAGEDDON RAG, the name of my own (fictional) band was... wait for it... the Nazgul.



Rock on, friends.

Went to see the new Baz Luhrmann version of THE GREAT GATSBY last night.

The film is doing good business, but getting decidedly mixed reviews from the critics. Some love it, some are cool, a few are tearing it to pieces. And the sides don't necessarily line up with those who liked or didn't like the source material, the novel by F. Scott Fitzgerald.

Count me with those who loved it. I think this is a great film. AND a great and faithful adaptation of the novel, which is not necessarily the same thing. I've never seen the two oldest versions of GATSBY, but the Luhrmann films stands head and shoulders above the beautiful but curiously empty Robert Redford/ Mia Farrow version.

Visually, this GATSBY is just amazing, something even its harshest critics have been forced to allow. (Though some of them do not like that). I don't think it would be correct to say that it brings 1920s New York to life, since I doubt that 1920s NYC was ever so saturated with color, life, sound. This is a dreamscape, everything bigger, brighter, noisier, drenched in life and color... but that's perfectly appropriate here, since the entire narrative is couched as Nick Carraway looking back on a formative time in his life, and dreams are always more intense than reality. Golden ages are never as golden as we remember them.

I'm a word guy first and foremost, though, and it is the words that sing for me here. There are a lot of Fitzgerald's own words in this GATSBY, in the dialogue, in the voiceovers, in the frame, and that's more than okay with me. There's never been a more lyrical writer than F. Scott and that lyricism is captured here.

The performances were also terrific. Carrie Mulligan's Daisy made me understand Gatsby's obsessions in a way that the Mia Farrow's Daisy never did; I would be have been obsessed as well. I will confess, I had my doubts about Leonardo diCaprio going on. The central flaw with the Robert Redford GATSBY is Redford himself. A fine actor, certainly, but far too handsome, graceful, self-assured, and in command of every scene to be convincing as Jay Gatsby. Robert Redford is one of the golden people, and Jay Gatsby is desperately TRYING to be one of the golden people, to aspire to everything that comes naturally to Redford, and that distinction is crucial... and ultimately as one of the things that sank the Redford film. I was afraid the Luhrmann version would suffer the same way. I've liked Leonardo diCaprio ever since I first saw him in THE QUICK AND THE DEAD (a guilty favorite) as The Kid, but in that, in TITANIC, and in all his major roles, he's comes across as cocky, brash, self-assured, handsome, with a swagger to him that suggests that he knows who he is and is unafflicted by doubts or fears... all of which is the antithesis of Gatsby.

He wasn't here. This is a new, mature Leonardo, as I have never seen himself before, and he does a great turn here. The Kid and Jack and all of those vanish, and there's only Gatsby... trying so hard, dreaming so fiercely.

I loved it.

And at the end, it broke my heart, the way the novel always does ever time I reread it, the way it did the first time I read it, back in the early 70s.

Now I will admit, I am prejudiced. This is one of my favorite books. This is a book that has vast personal meaning to me, one that has affected me deeply. The romantic in me identifies strongly with Jay Gatsby (and sometimes with Nick Carraway). I know what it is to chase after that green light. So I will not pretend to be disinterested.

But I love the book, I love the story, and I loved this movie. Go see it.

"... And as I sat there, brooding on the old unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that’s no matter — tomorrow we will run faster, stretch out our arms farther.... And one fine morning — So we beat on, boats against the current, borne back ceaselessly into the past."