The many faces of man and India in the long and winding Shantaram

From The Week of July 22nd, 2013

Though we can try to broaden our experiences with travel and literature, exposing ourselves to classes and customs of which we know little or nothing, we will never know others the way we know ourselves. From the thoughts that define our darkest moments to the rhythms of our lives indelibly shaped by the cultures that nurtured us, this is what we know. Everywhere else, we are strangers, floating through societies, defined by languages and landscapes, that would require years to understand. But what if we don't even belong to the places that nurtured us? What if, even there, we are misfits, our energies and temperaments mismatched with what we know? Then escape is our only option, a commitment to life as a stranger in a strange land, the price of which is exquisitely captured in Gregory David Roberts' sprawling work of autobiographical fiction.

The product of a working-class upbringing and a life-defining stint in a harsh, Australian prison, Lindsay Ford is a stranger to himself. A bank robber of some repute, he has fled his native land, and the jail that sought to cage him, and traveled, on a fake passport, to India which, initially anyway, serves as merely a stop on his way to freedom in Europe. However, before Ford can move on, events and new friends conspire to keep him in this unknowable, tumultuous country that he is forced to embrace and understand when, in an act of karmic revenge, he is himself robbed and deprived of all but the shirt on his back.

This defining event sends Lindsay on a remarkable journey of criminality and philanthropy that begins in a Mumbai slum and concludes in the violence of war-torn Afghanistan. Between, he will learn Indian languages, Indian customs and even Indian prisons, each of which serve to deepen his understanding of not only himself, but the suffering of the world. Enlightenment, however, may just come at the cost of his soul which may well be the only thing that one cannot sell in this land of noise and opportunity.

Shantaram is a monumental work of fiction that asks far more questions than it answers. Built on the back of Mr. Roberts' remarkable life, it is a thousand-page odyssey into the India of the 1980s, a place of corruption and sorrow, kindness and justice, that is undoubtedly the star of the tale. For the author forsakes a desire to constantly entertain the reader with plot and action and devotes large swaths of the work to simply describing this nation of a billion souls scrambling to get ahead in a world that makes that an all-but-impossible achievement. Villages and slums, cities and jails, are revealed in all their structure and their limitations, exposing India, at the least the India of this novel, as a place where the failure of organized, fair civic institutions have been replaced by ad hoc operations that attempt to provide some sort of framework for the lives of the lower classes. The patchwork nature of this tapestry is both beautiful and tragic.

Though Shantaram speaks at length to issues that range from morality to corruption, suffering is its profoundest and most consistent theme. Lindsay, Mr. Robert's fictional alter ego, endures a remarkable amount of degradation, all of which eats away at his spirit. In this, he becomes our entry point into the Indians who live with the same treatment, or worse, on a daily basis and do so with, what is to the western mind, a stunning degree of fortitude. The scars of unfathomable poverty linger on them, certainly, but it's the novel's caucasian characters who seem far more burdened by their experiences here. It is they who lack the armor that comes from properly understanding a place, of having their expectations for life calibrated from the moment of their births. The Indians know how to take life's slings and arrows without having them damage their spirit. The westerners, meanwhile, have no such protection which causes them, in the face of all of India's thunder, to break down and lose their way, to become trapped by its schemes, radicalized by its violence, and numbed by its capacity to test the depths of the human spirit.

Shantaram has some revolutionary moments, perspectives and phrases that leave the reader alternately breathless and enlightened, but it does this at the expense of the plot which is picked up and set down at the convenience of its author. Fully half of the work is made up of one rumination or another on the nature of existence which, after awhile, becomes both burdensome and far too apparent. The reader begins to sense the digressions into moral philosophy, to feel them coming, to resist the urge to skip it in order to stay within the story's arc, a frustration that weighs down this truly tome-like work. Had the author made more of an effort to intertwine these spiritual musings with the story's significant episodes, one senses that the read would have been legendary.

Fascinating and enlightening... (3/5 Stars)

An engaging study of the lifecycle of civilizations in Revenge of Geography

From The Week of July 22nd, 2013

Though it is an exercise fraught with failure and misapprehension, there are few tasks more worthwhile than the effort to improve our understanding of the cultures from which we come. For, despite the challenges, despite having to constantly check for ones biases and preconceptions, there is no better way to advance one's culture than to grasp the influences, the logistics and the the history that informs it and to separate these truths from the stereotypes that so often characterize national cultures. There are reasons for why our countries are the way they are, why some are rude and others prickly. And the sooner we understand this, the sooner we can begin to predict the future with some modest accuracy. This Robert Kaplan studiously demonstrates in his examination of the world viewed through the lens of geography.

For ten-thousand years, civilizations both grand and small, both coastal and landlocked, have risen and fallen. Some crumbled into dust with barely a lasting mark to remember them by. Others immortalized their legacies through engineering and enduring monuments that have left no doubt of the links they forged in the unbroken chain of humanity's march towards a more knowledgeable future. However, despite having different languages and assets, populations and ethics, lifespans and legacies, they did, all possess one common trait. They all eventually collapsed, their prowess and their vigor consumed by younger, energetic states. This inescapable fate has prompted both historians and interested parties to analyze this perfect mortality rate and divine from it lasting clues that might help stave off the inevitable deaths of current cultures.

Though this has given rise to nearly as many universal theories as their are studiers of this question, few are as simple as Mr. Kaplan's. Setting aside the monumental fields of economics and law, politics and multiculturalism, he contends that the ultimate fates of nations are written into their geographies. From the vital rivers that organized and then gave rise to cohesive cultures in China and Egypt to the sweeps of coastal-rich territory in Europe and North America, he argues that these invaluable resources concentrate populations which in turn innovate and inflate until they've become regional powers capable of spanning entire continents.

This would seem to be a wise, and even pleasingly unbiased, assessment of why some nations stabilize and succeed while others disintegrate and fail, but is it applicable in a 21st-century world where bombers and drones, have overcome the once-formidable natural barriers that have historically held nations back? Mr. Kaplan believes so. In fact, he is convinced that these technologies which have so effectively reduced mountains to molehills have created a whole host of new existential problems for humanity's various national tribes. After all, prior to the age of flight, India never had to worry about China. The Himalayas took care of any fear of invasion on both sides of that question. The same for nations separated by substantial waterways that would've taken weeks to traverse in centuries past that now take hours. The globalization of the world may have revolutionized trade, but it has opened up theatres of conflict that would have been unthinkable in times past.

The Revenge of Geography is an engaging analysis of 21st-century geopolitics informed by a first-rate mind. Mr. Kaplan has an admirable grasp of the present that is informed by both an intriguing read of geography and an educational grasp of the past civilizations that comprise known history. It explains south Asia, the Middle East, Europe and North America in a manner that is no less explicable for it being erudite. And yet, there's a blitheness here that haunts his study no less than it does all those that purport to boil the world down to a single, defining trait. There can be no doubting that geography has played vital role in the shaping of our nations and our cultures, but can the success of he United States really be put down simply to the fact that it had manageable neighbors to north and south, plentiful coast to east and west, and abundant heartland in which to spread out and thrive? Factors all, surely, but far from the only ones to be heard in the formation of the defining nation of the last 200 years...

But though Revenge of Geography may state its case too definitively, it does so in an unforgettable manner. For Mr. Kaplan introduces us here to intellectuals who conceive of the world, and even history, as a series of existential conflicts for dominance. Art and science, philosophies and customs, are discarded by the minds of these men and replaced with a heartless pragmatism that is predicated on the idea that governments seek always to expand not only their powers but their borders as well. There's plenty of evidence to support this cynical view, but there's just as much evidence to counter it as well. For while states may act in the interests of the people they contain, willing to go to war for gains both economic and territorial, people are often far more emotional and far less strategic than this. They would rather live in a world that is not zero-sum, a world where everyone has a fair shot of progress and comfort, rather than one in which their interests are mercilessly advanced at the expense of everyone else. The utterly pragmatic approach here is as striking as it is narrow.

There's much of value here, but for all Mr. Kaplan's skill, he fails to convince us that geography trumps ideology or cultural ethos. Nonetheless, well worth the read... (3/5 Stars)

A dense but disappointing conclusion to the Spin Series in Ghost Spin

From The Week of July 15th, 2013

For centuries, philosophers and thinkers have attempted to arrive at a coherent, all-encompassing answer to the question of what it means to be human. Their avenues of thought, though legion, have focused on the spiritual, the dutiful, the attitudinal, even the cognitive. And in this, they have missed the most critical path, the technological. After all, the question takes on a whole new universe of significance when we consider that, soon, humans won't even be exclusively flesh and blood, that they will extend their lives by using artificially grown replacement organs, that they will adapt themselves to life under Earth's oceans and in the skies of other worlds. We are on the brink of revolutions in cybernetic enhancement, genetic engineering and quantum computing that will eventually collapse the nation state and end capitalism as we know it. Defining humanity will become meaningless because to define it will be to define life in all its intelligent forms. This Chris Moriarty explores in the concluding work to her Spin Trilogy.

It is the 25th century and humanity, under the semi-authoritarian aegis of the United Nations, has taken to the stars. Utilizing the half-understood technologies made possible by breakthroughs in the quantum universe, artificial intelligences have been created to operate infrastructure and spacecraft, biomechanical wirejobs have been fused into the human brain and nervous system to create cognitive and physical enhancements, and exotic matter has been mined and deployed to create faster-than-light relays through which humans can explore the galaxy. This ought to be a utopia, a world beyond strife and discord. And yet, political corruption, wage slavery and widespread distrust of humans for the intelligent machines upon which they rely has forged a fractured civilization, one in which deep disparities in income equality and opportunity have lead to an unimaginable gap in the standard of living between elites on earth and colonials elsewhere.

Into this toxic stew of exploitation floats Catherine Li. A veteran of the UN's military arm, she has paid her dues and, thanks to Cohen, the oldest AI in human space, she has forged some kind of life. Sure, there is still the question of her past war-crimes, for which some would hang her, but her enduring relationship with Cohen keeps her largely safe from their manipulations. Until, one day, she learns that Cohen is gone, the victim of someone else's murderous intentions or his own suicidal instincts it's hard to say. But armed with a spun-off remnant of his personality, she intends to get to the bottom of why she's lost the only man she's ever loved. In doing so, she will come to understand the universe, and humanity's future in it, IN WAYS both frightening and fearsome.

A long, meandering conclusion to Ms. Moriarty's engaging, thoughtful, and confronting trilogy, Ghost Spin is equal parts success and failure. Taking up the structure of whodoneit crime fiction that worked so well in the trilogy's excellent first volume, it is essentially a 400-page rumination on the spectacular possibilities and perilous pitfalls of technologies sure to be churned out by the quantum revolution. Atop this, Ms. Moriarty has welded a plot framework that unites an updated version of the sea-pirate story with a mysterious murder-suicide that is entertaining without managing to be engrossing. For the plot here feels secondary, little more than a delivery system for the payload that is the author's philosophical ruminations on humanity's habits and foibles.

Catherine Li, the trilogy's protagonist, has always been a deliberate cipher. Having had her memories scrubbed as a consequence of the technological constraints of her job as a soldier for the UN, she is a benumbed and largely empty vessel animated by instinct and desire. These were deliberate choices on Ms. Moriarty's part and they worked when Li had a mission to complete and a status quo to overturn. Here, though, Li, once a badass of the first order, has been reduced to a woman desperate to find the only man who she invited inside her head, to fill up those empty spaces left blank by her past. And though the author couches this eager search in posthuman terms -- the man as artificial intelligence and Li herself as a copy of a copy --, this does not obfuscate the basic framework of a very old, very tired story.

But while Ms. Moriarty may have overexposed her characters and their deeds, few authors of popular fiction can speak with such eloquence about the nature of existence. In Spin State, she revealed a remarkable talent for terrifying technologies that ate away at what humans hold most dear, identity. Here, she takes up this most sacred virtue and smashes it upon the altar of science. The fragments that result are the fragments of her tales and in this she is, at least for this writer, a must-buy. But the Spin Universe has reached its end, at least with these characters. New ground must be sought out and mined for value.

Problematic, but no less thoughtful or imaginative for that... (3/5 Stars)

A charming and sober look inside a women's prison in Orange Is The New Black

From The Week of July 15th, 2013

Civilization has always required prisons, a means by which to segregate the disobedient, the disharmonious and the dysfunctional from mainstream society. After all, if such chaotic elements were allowed to freely roam, they would diminish not only the people's belief in the rule of law, but they would promote a kind of anarchic individualism that would make governing all but impossible. The state needs conformity. It can operate no other way. And so we gather up the offenders of society's codes, everyone from thieves to rapists, and we shut them away until they have ostensibly learned their lessons, until the deprivation of their liberty has scared them straight. We do this, paying only passing heed to the circumstances that encouraged them to commit their crimes in the first place. We do this, little knowing the costs, in coin and in futures, we waste. This Ms. Kerman conveys in her charming and disturbing memoir.

Piper Kerman received an excellent education; she was nurtured by a successful and caring family; and she possessed an intellect capable of propelling her to the heights of her society. But none of this abrogated her sense of adventure, her desire to color outside the narrow lines proscribed by her gender and her class. Which is how she entered into a consequential infatuation with Nora, an older but not necessarily wiser woman who used the funds earned from her position as a member of an international drug ring to take Ms. Kerman to the world's most exotic locales where the pair could live, explore and enjoy life. Such a heady existence is not built to last though, a fact ms. Kerman realized soonafter foolishly agreeing to help her partner launder money through a European airport.

This fateful decision would not only accelerate the end of her relationship with Nora, it would lead to agents from the US Customs Service turning up on her doorstep two years later, charging her with Moneylaundering and insisting that she tell them everything she knew about the then collapsing drug ring. Shocked to have her past come back to haunt her, Ms. Kerman engaged in a five-year-long odyssey to fight the charges, but her battle was ultimately a losing one, leading to a plea agreement that would see her spend thirteen months in a minimum security women's prison in the American northeast. Though she would ultimately serve far less time than many of her fellow inmates, these thirteen months would have a profound impact on Ms. Kerman, her friends, her family and her fiance. And they would forever reshape her idea of prison and the heavy toll it takes on all those who come in contact with it.

A breezy memoir, full of amusing anecdotes and rueful revelations, Orange Is The New Black is an entertaining and enlightening chronicle of life in a women's prison. Ms. Kerman, who has since gone on to work for a non-profit, has a keen eye for detail, a sympathetic heart that bleeds for her fellow inmates, and a rare degree of self-awareness that leads her to be honest about her flaws and her foibles. This combination of talent and integrity quickly earns the reader's respect and confidence. For this is no self-justifying polemic against the state. This is no screed of self-denial that seeks to blame everyone but the blamer. This is an earnest catalogue of both her own shortcomings and those of the penal system that so briefly captured her, a fact which elevates this work out of the mire of the self-reverential and into the world of the societally useful.

Though Ms. Kerman primarily focuses on the day-to-day grind of prison life, she does not avoid some biting social commentary. She is deeply critical of the harsh sentences, required by America's system of Mandatory Minimums, that end up burdening marginal criminals with debilitating stretches of time. She does not deny that there are violent women who have earned their segregation, but these individuals are few when compared to the legion of women ensnared in the criminal enterprises established by boyfriends, husbands, fathers, and brothers. These opinions are no doubt colored by Ms. Kerman's sympathies, but this in no way invalidates her overarching point, that the sentences for nonviolent drug offenders are extreme, disproportionate, and profoundly shattering. They not only disconnect these women, 80 percent of whom are mothers, from their families, they wrench them out of society, compelling them to forever exist outside the margins where only a handful of social crusaders care to even notice them.

Orange Is The New Black is by no means flawless. While it has little of the sensationalism or salaciousness one might expect from such work -- a truth for which we should be grateful --, it exposes a certain self-involvement on the part of the author. Very little actually happens to Ms. Kerman during her time locked away. And yet every detail of her stay is picked apart. This is a benefit, in that it reveals the degree to which prison is essentially enforced tedium, but it also leaves us to occasionally wonder if this is a worthwhile exercise.

Notwithstanding its occasional missteps, however, this is engaging work that, while light on policy recommendations, certainly confirms the suspicions that the penal system, as practiced by western society, is deeply flawed. And through the lives and experiences of these women, we come to understand that in the most intimate of manners. (3/5 Stars)

An entertaining, informative look at TV's new golden age in Difficult Men

From The Week of July 15th, 2013

Though art has always been, to some degree, shaped by patronage, money that flowed from rich donors interested in vanity and beauty, it has never been more captured and regulated by financial interests. For only they have had the means by which to distribute art globally through the mediums of television and film, concerts and art shows. Though many of them would have initially promised otherwise, this has naturally lead to such investors gaining a significant say over what kind of art is made. After all, if the primary means for the artist to make money is to put their art before the eyeballs of millions, and if it is all-but-impossible for them to own the means of this distribution, then the artist has no power and is forced to yield to the investor. But now, slowly, painfully, this model, so dependent on the whims of the rich and the entitled, is changing, allowing in a new era of style and expression that is mesmerizing audiences with stories no one has been able to tell. This transformation, and its results, Brett Martin explores in this excellent, cultural investigation.

For the first fifty years of television's existence, the consumer was all-but irrelevant. From his perspective, he would sit down in his living room and watch a narrow selection of programs broadcast to him by powerful, unknowable network s whose executives he'd never meet, and whose programming motives he'd never understand. For to those same executives, he was just a poorly understood data point lumped in with millions of other data points to create the audience, a captive collective they could present to advertisers as millions of people just waiting to buy their products. This was television, entertainment sponsored and shaped by a single stream of revenue (ads) which not only determined the kind of programs that these networks would air, but governed the morals and the attitudes the programs would represent.

Over the last 20 years, with the rise of Cable, this old, decaying model has begun to collapse, replaced by a new and vigorous view of television programming that has electrified audiences. Though ads are still present in the economic calculus used to create new TV, they are just a part. New sources of funding, from DVD box-sets to Carriage Fees, have liberated cable channels from the tyranny of advertisers, looking to hawk their products to primed audiences, and allowed them to create shows that sound out the dark depths of the human soul while reflecting the modern world in a manner that is, at times, so realistic it borders on the ideological. From The Sopranos to Louie, from The Wire to Veep, this new golden age of television has asked questions no one has been able to ask, not in this here-to-for constricted medium. And in doing so, they have left an indelible mark on the culture that will not be forgotten.

From HBO to FX, from from executives to creators, Difficult Men is a vivid exploration of the transformative programming broadcast in the Cable age. Throughout these 300 pages, packed with gossip and biography, history and new technology, Mr. Martin introduces us to the complicated artists frustrated by television's narrowness, the ambitious executives who sought to use Cable as a means of freeing them, and the unforgettable works of dramatic art born by this revolution. Dividing his chronicle into three, roughly five-year blocks of time, the author begins with HBO's early, powerfully disruptive successes (The Sopranos, The Wire, Six Feet Under, Deadwood) and concludes with those who've taken up the torch HBO lit and then fumbled: Fx with The Shield, Rescue Me and Justified; AMC with Mad Men and Breaking Bad. And in this, he has touched on virtually every significant TV product that has delighted and disturbed the culture over the last 20 years.

Though the work succeeds in providing the necessary background to understand why TV has changed so much since the early 1990s, Difficult Men is at its best when illuminating the powerful, conflicted personalities that have driven these cultural touchstones. Writing with a mixture of reverence and amusement, Mr. Martin examines the politics, the dispositions and the working habits of chase and Milch, Ball and Weiner, all as a means of connecting their issues and their passions to the iconic characters they've created. In this, we come to an understanding of Tony soprano and Don Draper, the Fishers and the Whites, that borders on the profound. For these were not simply pieces of fiction conjured into existence by men newly freed to tell stories. They are outgrowths of drive and obsession, anger and confusion, that we all experience but that has been more deeply concentrated in these Showrunners.

While Difficult Men's stumbles are few, there are disappointments here. Mr. Martin spends virtually no time discussing the archetype of the anti-hero alpha male represented by these shows and the way in which the culture will eventually grow tired of him. He makes it clear that this particularly American view of the modern man can be directly traced back to the men who created them, and so we can infer that the preponderance of male artists in the world of television is responsible for this. But he fails to grapple with the central question here. When, two years from now, audiences are sick of seeing yet another version of the same, conflicted white man in his 40s, and turn away from such programs, will Television decide that the Cable revolution was unsustainable, or will it realize that it needs to seek out newer, more diverse talent? Moreover, Mr. Martin gives almost no time here to the role Showtime played in this revolution. Dexter is winked at, but Homeland, Nurse Jackie, The L Word and Weeds are all neglected, likely for not fitting into the alpha-male narrative.

Notwithstanding its occasional omissions, this is an excellent and deeply entertaining look at products and people that have shaped our culture since the late 1990s. A must-read for anyone who has watched even a few of these shows... (4/5 Stars)

A long, filthy descent into nihilism in The Avery Cates Series

From The Week of July 8th, 2013

For civilization, devastation is a disease. For not only does it destroy buildings, disrupt basic services, and overturn the rule of law, it infects the humans exposed to its necrotic caress with a persistent sense of nihilism. It entices them to believe that society, as it was, is gone and that only fools would waste time re-establishing it. It convinces them that the only worthwhile virtue of their new existence, amongst the smoldering rubble of what was, is to survive and to do for oneself at the expense of everyone else in the name of that survival. But herein lies devastation's true perniciousness. For if everyone adopts this selfish attitude, then nothing is ever repaired, rebuilt, reborn. The world, staffed by survivors, is allowed to decay until even the memory of civilization is gone. This is the attitude that pervades the first three volumes of Jeff Somers' series and its one he wields to great and depressing effect.

It's the 21st century and life as we know it is gone. Nation states, and the individual freedoms they granted to their citizens, have been swept away by the System, an apolitical surveillance state that has, in the name of uniting the world, deployed bombs and droids, wars and assassins, as a means of establishing a new, peaceful order. For a time, widespread resistance to this new, globalist regime burned bright, but eventually even these organized pockets of rebellion were ground out beneath the ruthless bootheels of the System cops and their masters, men and women who would rather rule over rubble than not rule at all.

Through this dystopian world simmering with resentments slouches Avery Cates, a 27-year-old mercenary who barely remembers the world before unification. The totality of his adult life has been lived beneath the merciless eye of the system and their enforcers who roam the ruined streets of his native New York with a kind of brutal and uncaring vigilance. Cates' only means of survival in this world of solitude and disenfranchisement is to hire his gun out to those who can pay for murder. But though his skills have kept him alive for longer than most of his compatriots, his luck appears to have run out. For Cates has been tricked into killing a system Cop, a crime that generally results in long spasms of torture, at the hands of these new brothers in blue, prior to a painful death. His only escape from this particularly grim fate is to allow himself to become a tool for the director of the system Cops' Internal Affairs division, an exploitative relationship that will send Cates on a long, destructive spiral into the very bowels of his dirty, corrupted world.

A dark and difficult experience, The Avery Cates Series is a coarse and clumsy take on dystopian science fiction. Mr. Somers draws on 20th-century history to essentially recreate, in the 21st century, life imagined by the Third Reich, corporate fascism in which people were only allowed to act with the permission of the all-powerful, all-seeing state. This framework is then married to a series of explosive challenges for Cates to overcome at the expense of everyone around him. This union of historical influences and Hollywood blockbusterism initially stirs powerful emotions, particularly for those readers even passingly familiar with Nazism. Unfortunately, this is where the author's creativity ends. For all else is merely a stress test to see how far Cates can be pushed before he cracks and relinquishes what's left of his humanity.

Perhaps the most unpleasant part of Mr. Somers' work here, though, is his reliance on foul language. Any good story deploys its fair share of epithets which, when properly and sparingly used, have an unrivaled impact upon the reader. But the author completely rejects this philosophy, instead, peppering his work with every permutation of what George Carlin called the seven dirty words. Yes, to some degree, this harsh and violent language helps convey both the brutality and the hopelessness of Cates' world, but he accomplishes this at the expense of the reader's attention and respect, both of which are eroded by his reliance on such a flippant means by which to communicate personal and societal desolation.

There are virtues here. The Avery Cates Series challenges notions of what it means to be human. It adopts and darkly distorts proposed technologies such as digitized consciousness, mechanized exoskeletons and the artificial hivemind to create an affectingly grim view of a possible future. Imagining and spinning out such scenarios is not a simple achievement. And yet, this is at far as it goes. Mr. Somers does not grasp these tools and fashion something with which to advance the conversation. He has, instead, adopted the themes and the rhythms laid down by the masters before him and, sadly, re-constituted them with only marginal success.

For those looking to be entertained by a swift, atavistic plunge into a grim, pugilistic world, there is material here worth exploring. But for anyone seeking to find enlightenment amongst the ashes, such embers are few and far between. (2/5 Stars)

The devastating history of eugenics chronicled in War Against the Weak

From The Week of July 8th, 2013

Though the question of what we individually owe to our fellow man is the pressing, sociological issue of this new, global civilization, there's an equally important debate to be had. What do we owe the least fortunate among us? From the mentally ill to the physically deficient, millions of people never receive a fair shot at a successful life. Is this merely a necessary outgrowth of a democratic, capitalist system, that some of us simply will be left behind, or is this inequality a consequence of poor ethics and poor morals? Perhaps, some day, we will have answers to these questions. Perhaps one will help solve the other. But until that day, we have only our past actions to go by. And where misfits are concerned, this is decidedly grim, a truth relentlessly demonstrated in Edwin Black's thorough examination of eugenics.

A scientific movement that grew out of nineteenth-century revelations of the remarkable role evolution plays in the advancement of life on Earth, eugenics is an ethical framework that argues for the purification of the human species through proper breeding and genetic engineering. Popular in the first half of the 20th century, it was originally confined to agricultural and horticultural fields before being seized upon by scientists and philosophers as a means by which to eliminate human malformations. After all, would the world not be better if disabilities from Spina bifida to blindness could be erased from the gene pool? Imagine the benefits to society if it, and its people, could be relieved of the costs of caring for those who, because of some genetic deficiency, cannot care for themselves.

However innocent the origins of this view of humanity's future, eugenics soon took on a sinister air, made all the more obvious with hindsight. For how could the enfeebled and the disabled be trusted to remove themselves from the gene pool? Would it not be prudent for society to sterilize them as a means of assuring that such genetic mistakes would die out with them? Armed with scientific funding from powerful, turn-of-the-century trusts, an American organization set out to lobby state legislatures to pass sweeping laws that would make commonplace the forced exclusion of deficients from the gene pool. Drawing on biased, reprehensible science, the American Breeders Association became a haven for racial purists who disseminated their ugly conclusions not only throughout North America, but to a receptive Europe eager to have its white, Nordic superiority re-affirmed by sham science. Of these new, European adherents, none were as enthusiastic as the group of German scientists who would go onto play key roles in Hitler's attempted extermination of the Jewish population, participating, in the name of eugenics, the worst crime in modern history.

A lacerating account of the history of eugenics, War Against The Weak is a shattering examination of one of organized science's darkest hours. Mr. Black, who possesses a first-class mind for research, has not only assembled an authoritative account of the attempt by a small group of humans to play god over the future of an entire species; he has brought to light, with color and compassion, the many thousands of souls who suffered at their hands. For the eugenics movement was not a victimless crime. It was not simply a foolish idea rooted in a series of unfortunate misapprehensions. It was a systematic attempt to strip groups of innocent people of their basic human rights, passing judgement on them in a manner that is both abhorrent and obscene. From the American Breeders Association's first steps into the arena of public policy, through to the unimaginable Holocaust into which it eventuated, the work reveals the corporations and the actors, the governments and the bodies that sought to destroy the individual freedoms we all hold so dear.

Though the work's most obvious quality is its exceptional thoroughness -- Mr. Black presents the reader with pages and pages of sources that must have taken years to organize and compile --, its most enduring virtue is the manner in which it exposes us to an inescapable truth about the human mind, that it is unavoidably biased. Shaped by its social, cultural and economic environments, and hardened by personal experience, it favors conclusions it likes and ignores those it finds unpleasant. In this, it creates for the individual a narrowed view of the world that, while agreeable to the individual's sensibilities, is colored in the extreme. We now know, thanks to the work of both social and scientific crusaders, that the physical, intellectual and emotional differences between the races are at best negligible. And yet, seeking to find an explanation that justified their distaste for the tide of non-white, non-Nordic ethnicities flooding into their homeland, these eugenicists created pseudo science, convinced receptive governments of its voracity, and then implemented a program of social engineering criminal in its intent and tragic in its scope.

War Against the Weak has its blind spots. For all its rigor, Mr. Black's account is nonetheless a polemic against eugenics. He has no time for seemingly any argument in its favor. Given eugenics' costs, this is understandable, though, regrettable. We should be able to have a debate about what society owes the individual. We should be able to have discussions about the blessings of genetic engineering. But these are areas now profoundly poisoned by the sins of our past, certainly where the author is concerned.

An absolute must-read for anyone even mildly interested in science, justice and human nature... (5/5 Stars)

A dark journey through L.A.'s underground in Drive

From The Week of July 1st, 2013

Until science solves for the mysteries of the mind, the age-old debate of nature versus nurture will continue to percolate, propelled onward by the desire to understand unfathomable humanity. Why do some of us become saints and others sociopaths? Why do some of us have indomitable tempers while others possess uninterruptable serenity? Why do some of us drive ourselves to the heights of fame and fortune while others never make it out of our neighborhoods? Questions and accusations, theories and excuses, abound, some of them helpful, others generated from bias. Until we have a roadmap to human nature, we're left with only our intuitions and our suppositions, a circumstantial uncertainty played to eerie effect in James Sallis' brief but bloody piece of crime fiction.

A son of the American Southwest, birthed from a home of deep dysfunction, the Driver moves through life as if it were a movie. He remembers meals and jobs, girls and cars, but the rest is sloughed off as vestigial to his Polaroid life. Lacking even a name, he is a quiet ghost in the City of Angels, performing car stunts for Hollywood by day and acting as the wheelman for criminals by night, a dual life that seems to suit him quite well, that is, until two transplanted connected gangsters from old New York decide to tear up the rulebook to their underworld game, stalking him for ill-gotten gains Driver would have happily returned if they had the courtesy to ask nicely. That they don't is, for Driver, causes belli and the fallout promises to be spectacular.

Barely a hundred pages, Drive is nearly a perfect piece of dark, summer reading. Emerging from the swift, flashy tradition of crime fiction popularized by Elmore Leonard et al, Mr. Sallis has constructed a series of dramatic, even moving vignettes that act upon the narrative like flashbulbs, momentarily shedding light on fragments of time in the life of a man (Driver) who has only a foothold in our world, the rest of his nature lost to some netherspace of deeds and apparitions. Consequently, Driver, the only character who claims more than perhaps ten percent of the tale, is a person barely glimpsed, his motives hidden behind a creepily affectless facade that Mr. Sallis has miraculously imbued with magnetism, not repulsiveness.

Reducing his cast to but one serious player is, for the author, a toss of the dice, a roll made in the confident hope that Driver will captivate readers. And he does. For he is not a simple monster who demands that we accept his nihilism-as-parable for 21st-century America. Rather, he is a deeply damaged person who has come to imprint upon the world certain codes of conduct that are, for him, inviolate. This is not some ancient skein of honor upon thieves co-opted from the Mediterranean. It is the means of his survival in a world that, without his rules, is completely inexplicable. In this, is just like everyone else he shares the world with. The difference rises only when we contemplate the particular codes which, for a man who does not seem to feel pain, much less emotion of any kind, are quite apart from the ones we would know. This is why he is a creature of fascination. He is a puzzle, not an animal.

There are other pleasures here, certainly. Mr. Sallis' Los Angeles operates in that entertaining pretend space of urban cities devoid of law-enforcement, a world fully endorsed by Hollywood that suggests that civilization is merely a series of encounters and exchanges moderated by the threat of violence and the possession of power. This may be absurd, but it is also profoundly appealing, offering up a glimpse of an unrestrained life that our savage sides long to experience. It is the forbidden sandbox of no holds barred that we all left behind AS toddlers learning that we had to accept society's chains in exchange for life. This adrenaline hit never gets old.

A rewarding read... (4/5 Stars)

The techniques of modern counter-terrorists revealed in The Terror Factory

From The Week of July 1st, 2013

Though technology will eventually liberate human civilization from all forms of political control, government is, for the moment, a necessary evil for the continuance of our march towards a brighter future. For until we can delegate the functions of the societal machine to impartial and intelligent algorithms, organized around the public good while being immune from public pressure, this messy assemblage of technocrats and politicians is the best and only way to regulate commerce, normalize international relations and lend aid to the less fortunate. In order for them to perform these duties, however, governments must be given considerable power over our individual and collective affairs, a reality which eventually, and inevitably, tempts them to seize yet more power in the aim of doing more good. Rarely has this truism been better exemplified than in Trevor Aaronson's shattering examination of the counter-terrorism policies of the FBI.

Despite numerous presidential statements calling for American citizens to exonerate mainstream Islam for Al-Qaeda's nihilistic attack on the World Trade Center on September 11th, 2001, the United States' intelligence agencies have spent the years since 9/11 alienating the Muslim community. Employing a series of strongarm tactics, they have aggressively recruited both willing and unwilling informants within targeted communities and unleashed them upon people of interest, individuals who have, through anger or foolishness, braggadocio or malice, harbored some intent to harm the United States. Prior to 9/11, this would not have been possible. For not only did the FBI not possess the financial resources to execute such missions, they lacked the networks of human spies necessary to carry them out.

Since 9/11, however, these chains, which once prevented the FBI and its sister agencies from digging into every dark corner of American life, have been lifted, an evolution that has allowed these agencies to infiltrate religious institutions and everyday businesses, all in the aim of preventing the next attack. But though this is a commendable goal, one that a majority of the populous would undoubtedly support, their tactics have been as crude as the informants they've paid to execute them. And though the these agencies claim numerous successes in this dirty war against extremist elements, their methods have been so manipulative, so self-serving, that they've sparked some to wonder just how legitimate the attacks they've prevented actually were.

Enter The Terror Factory, a devastating catalogue of government misdeeds. Mr. Aaronson, an American journalist, investigates the high-profile prosecutions of terrorists since 9/11 in a manner so systematic, so unrelenting, that he leaves the reader gasping in horror at the sheer audacity of government agencies who, in acting in the name of society's protection, are willing to bend-unto-breaking every law cherished by the citizens they are charged to protect. Informant by informant, victim by victim, the author explores the anatomy of this system of government-sanctioned entrapment of immigrants made vulnerable by Byzantine laws that leave them open to the threat of deportation if they fail to become double agents for counter-terrorist agents who are, in turn, in no way disincentivized to act reasonably, cautiously, or with much respect for the broken lives they leave behind. No price is too high when the stakes are the protection of the homeland.

This is far from a neutral account of this shadow world of informants and their sting operations. In particular, Mr. Aaronson devotes little time to trying to assess the guilt of the individuals caught up in the FBI's various nets. In fact, some of these individuals appear, superficially, to be quite willing to carry out attacks on the scale of 9/11. However, for all his reluctance to speak to the ugliness of some of these characters, the author's point supersedes such concerns. After all, whether or not one harbors the desire to commit a terrorist attack is entirely apart from whether or not one is willing to actually plan it, collect the means to do it and then to execute it. That the FBI eagerly enables these individuals to take all three of these fateful steps merely to arrest them and parade them for the world to see, is abhorrent. That they do so seemingly indifferent to the fact that they have recruited thousands of morally dubious, and sometimes outright criminal, spies in order to complete this self-beneficial mission is tragic.

The Terror Factory is a mesmerizing read that makes it abundantly clear that the United States will stop at nothing to prevent another large-scale terrorist attack on its soil. That it does so at the expense of all its hard-won principles is nothing short of frightening, not only for its citizens but for the rest of the world as well. (4/5 Stars)

The Battle of Tora Bora vividly catalogued in Kill Bin Laden

From The Week of July 1st, 2013

Humanity puts great stock in symbols, images and individuals who can either inspire us to achieve our wildest dreams or remind us of the darkness that lies within us all. They can drive civilization forward on the back of all they've sacrificed to give us peace and stability, or seize us in selfish hatreds that harden our hearts and narrow our minds. But for all their historical and rhetorical power, symbols are only what we invest in them. After all, our symbols would be meaningless to someone who lived a thousand years ago, much less a thousand years from now. And yet, in the heat of moments of pain and confusion, this lesson is forgotten, neglected for the pleasures of exorcising them, a lesson taught quite well in Dalton Fury's adrenaline-fuelled memoir.

Though the September 11 Attacks sent powerful shockwaves of emotions through much of the world, they, in their audacity and their horror, also formally introduced the general public to Usama Bin Laden, the Saudi-born jihadist who had spent most of the previous 20 years funding and engineering acts of rebellion and terrorism. His crimes, even prior to 9/11, were legendary within international circles, but after this bold and heinous strike at monuments of American economic power, he became legendary, a creature of near-mythical powers who could direct devastating assaults against the world's most powerful nation, all from the relative comfort of the remote, tribal Hindu Kush.

This mountainous, central Asian region shared by Afghanistan and Pakistan had already proven, in the 1980s, to be a successful base of operations from which Afghan guerillas, supported by Arabian jihadists, attacked and disrupted the Soviet occupation of their country, eventually leading to the USSR's withdrawal from the unruly nation. Now it would perform a similar function for Usama Bin Laden who hoped to use his attacks against America to provoke his enemy into a ruinous war in the mountains he knew so well. Here, on familiar ground, he could watch America's might break against his winter stronghold and, in doing so, reveal to the world the extent of American weakness.

Instead of committing to such a war, the United States sent special operatives to Afghanistan, teams of Rangers, Deltas, SBS operatives and CIA agents armed for battle and packing the millions of dollars necessary to purchase the loyalty of local warlords who would execute the American-backed assaults against both the Taliban and al-Qaeda. This campaign would culminate in the Battle of Tora Bora, a series of skirmishes that would eventually smash Al-Qaeda, sending its key men into hiding and largely ending it as an organized force.

The commander's eye view of this most consequential battle, Kill Bin Laden is an arresting narrative of a hunt that narrowly missed capturing the world's most famous terrorist. Dalton Fury, the pseudonym for the Delta commander in charge of this mission, draws from his journal of those difficult few months to paint a thorough, if nationalistic, view of the battle, its protagonists, antagonists and the circumstances that lead to them clashing in this most remote mountain range. Supplementing his account with colorful anecdotes of life as a special operative, and detailing the absolute extremity of the training these soldiers endure to join such elite companies, Fury succeeds in conveying a sense of what it's like to be a member of the world's supreme fighting force, both its rewards and its disappointments. In this, he leaves little doubt of just how far these men have deviated from the normal life and the price they pay for living so far outside this most customary box.

However much Kill Bin Laden educates us about the lives and the demands of special forces, it stumbles when attempting to carry out its primary mission, to provide an unbiased account of the Battle of Tora Bora. Fury certainly reconstructs the combat, and the chain of events that lead to it, but these details are drowned out by his incessant need to denigrate the Afghans with whom he operated. In light of the fact that these warlords and their armies required American cash as motivation to fight, it seems reasonable to conclude that Fury is right to criticize their reluctance to fully engage with a fundamentalist enemy ravaging their homeland. But his tone so often devolves into outright scorn that his contempt for these men and their ways creates a great deal of room for doubt as to whether or not he's given them a fair hearing here.

That said, one gets the sense from these pages that Fury is not a man interested in outside criticisms, that he'd no more be interested in disguising or shading truths than he would be in retreating from a battle. And so, though we may harbor some doubts as to his fairness, the author has absolutely succeeded in his attempt to communicate his own personality and the ethos of the Deltas, facts which, alone, make this a worthwhile read.

History shifts on pivotal moments like these. Had Bin laden died at Tora Bora, it seems likely that the pretext for the War in Iraq would have been too weak for it to eventuate. The history of the 21st century's first decade would have unfolded far differently in the wake of such a monumental change. To see such a moment play out is a gripping experience no matter how prejudicial the execution. (3/5 Stars)

A satisfying, imaginative piece of futurism in the engrossing Blue Remembered Earth

From the Week of June 24th, 2013

What are the costs of success? Our world, as of this writing, is awash in political strife, sectarian violence and organized criminality, all of which stain our civilization. But for all the damage these chaotic elements cause, they are at least reminders that we are, in a key sense, free to act as we choose. What if, in the near future, as seems possible, technology advances to the point where we could prevent crime, re-enforce the democratic process, and allow us to heal our world of the pollution and the corruption we've imposed upon it? Our civilization would be, by every measure, better off, but at what cost? These values would have to be imposed upon everyone. And though most would agree to them, would that uniformity not rob us of a fundamental ability to choose to be foolish? These sticky questions are brilliantly tackled by Alastair Reynolds' mesmerizing first volume of a promising trilogy.

The year is 2162 and Earth is at peace. Humanity has weathered the anthropogenic storms and endured the nihilism of sectarian and resource conflicts to create a newer, better world, one shaped by an admirable dedication to non-violent progress. Genetic engineering, nanotechnology and virtual reality are commonplace, deployed as mechanisms for aiding in both the enjoyment and the interconnectivity of humanity. This utopian society, which is lead by Africa, with India and China as somewhat secondary powers, is managed by the Mechanism, an omnipresent surveillance system that prevents violent actions through painful and debilitating stimulus applied to the human brain via their nanotechnological augmentations.

Having spread to both colonies in the solar system and to cities under Earth's seas, humanity appears to have reached the zenith of its progress. Technological advancement has slowed from the frenetic pace of the previous century, leading some to wonder if the Mechanism-imposed peace has retarded the chaotic creativity of earlier decades. However, this view is undermined when two members of the Akinya family, a powerful African outfit that have earned incalculable riches by creating some of the key technologies that have enabled the cultivation of the solar system's many resources, stumble upon secrets left behind by their clan's recently deceased matriarch. Geoffrey, a biologist, and Sunday, an techno-artist, together and individually, begin to investigate their grandmother's past in hopes of unearthing the mysteries that characterized her long, legendary existence. In doing so, they initiate a series of events that might well irrevocably change human civilization.

The rich product of one of science fiction's brightest minds, Blue Remembered Earth is a tour de force. Mr. Reynolds, an astronomer turned author, has not only spun out a well-paced, dramatic tale, he has deviated from 50 years of western tropes and divined, in their stead, a complex future world that oozes authenticity. No one writing from the early years of the 21st century can do more than guess at what life will be like in the 22nd, but Mr. Reynolds' refreshing brand of futurism immerses the reader in such inviting, mesmerizing layers of verisimilitude that this hard truth is happily discarded for an world that won't soon be forgotten.

Mr. Reynolds is by no means the first to conceive of a future world that takes for granted technologies that are currently only in the embryonic stage of development. No, the genius here lies in the manner in which he imagines their unspooling over the next 150 years, leading eventually to a probable future that has advanced well beyond the crude interfaces of screen and keyboard so ubiquitous today, embracing, in their stead, biotechnologies that interact directly with our minds. These electrifying technologies not only play a substantial role in the unfolding of the narrative; they are explored by an author interested as much in their philosophical outcomes as their tangible ones.

For all its brilliant futurism, however, this first entry in the Poseidon's Children trilogy suffers from one significant systemic flaw. One of Mr. Reynolds' imagined technologies allows individuals to project their consciousnesses into automatons, ranging from robots to lifelike androids, designed to allow humans to interact over long distances. But though this technology is deployed to great effect by the plot, the author fails to explain why, when these disposable bodies are readily available, and fully capable of extending a human's reach well out into space without having to leave the safety of Earth, humans do not simply stay on Terra Firma and allow their mechanical proxies to endure the dangers of both space travel and Blue Remember Earth's plot. Perhaps the humans of Mr. Reynolds' future simply have too strong a desire to explore for themselves, to feel the ground of other worlds crunching beneath their booted feet, but when set against the overwhelming advantages of avoiding the deterioration of the human body in reduced gravity, and given that proxies could obviously possess attributes humans cannot, this seems like a flimsy excuse. Should we develop this proxy technology, I imagine most humans will explore the solar system with their minds, not their bodies.

Beyond the science here, Blue Remembered Earth's plot holds up well. From the rapidly evolving landscapes of Mars to the bohemian refuges of the dark side of Earth's moon, we're introduced to vistas and characters into whom Mr. Reynolds has breathed life. There are missteps, certainly. The author's puppetmaster's strings are allowed to show far too often, with actors just happening to arrive at precisely the right moment to receive clues to a mystery only they are destined to solve, but these are forgivable sins when the goal is so rewarding.

A wonderful, captivating beginning to a trilogy of immense promise... (4/5 Stars)

Political self-destruction in Preston's informative The Spanish Civil War

From The Week of June 24th, 2013

As much as the last few centuries have seen a significant advancement in most forms of human endeavor, we still lack a consistent, feasible strategy for properly harnessing and altruistically deploying the powers of collective action. For thousands of years, charismatic firebrands have rallied mobs with their voices and their deeds, unleashing these crowds in the name of a goal they desire to achieve. Moreover, entire communities have organized along similar lines in hopes of upending the status quo. But in both cases, the ends fail to justify the means. For the act of deploying the power of the collective, in the furtherance of a specific agenda, encourages others to do so for their own agendas. And it never takes long for these different groups to crash into one another, directly or indirectly, creating chaos in their wake. How we improve this dire outcome is beyond the scope of this review, but its consequences are not. They are vividly demonstrated in Paul Preston's excellent history of one of Spain's darker periods.

The consequence of years of political instability, ideological feuds and economic hardship, the Spanish civil War (1936-1939) was as brutal as it was swift. Pitting political leftists, supported by the legitimate government, the Soviet Union and thousands of foreign fighters drawn to their righteous cause, against right-wing nationalists, supported by fascist Italy, Nazist Germany and much of the Spanish military, it was a devastating conflict that not only claimed the lives of hundreds of thousands of belligerents and civilians, it ripped apart Spanish society, plunging it into a kind of nihilistic chaos that would become all-too-familiar when the Second World War would break out only a few years later. The war, which saw towns besieged and bombed, soldiers starved and mutilated and civilians raped and murdered, annihilated the Spanish state, replacing it first with discord and then with Franco's victorious iron fist which would remained firmly wrapped around Spain's throat for more than 20 years.

But how could such a horrific conflict be allowed to unfold? Where were the moments of hesitation, of compromise, that would have kept its ravages from Spanish shores? And why was it such a rallying cry for European commoners and intellectuals? For these answers, we turn to the political turmoil that preceded the conflict, a succession of overturned governments, unchecked egos and ideological disputes that were a microcosm for a pre-WWII Europe gripped in a feverish and contentious debate between communism on the left and fascism on the right. These diametrically opposed forces, armed with proxies and adherents, ideas and weapons, were determined to impose their views upon the world, an insistence that succeeded only in tearing it apart.

This complex, factious world is brilliantly captured in The Spanish Civil War. Beginning with the fearsome politics that launched it, and concluding with the long, Francist nightmare that followed it, Mr. Preston details the thinkers and the commanders, the loyalists and the autocrats, the politics and the self-belief that characterized a dispute that would not only act as a harbinger for the wider, European war to come, but demonstrate the true cost of a heavily populated and profoundly divided continent that, seized by the legacies of imperialism and colonialism, eschewed union for nationalism, wisdom for pride. Every human flaw is on display here, taken up and spilled across 400, swiftly paced pages that never succumb to the bondage of that most notorious fetish of historical non-fiction, endless specificity. That Mr. Preston manages to capture such a rollercoaster conflict without completely losing the reader is an achievement all its own. That he does so while engendering both horror and sympathy is remarkable.

Though Mr. Preston primarily focuses on untangling the knotted rivalries that caused the conflict's breakout, the work's strongest moments are taken up with the ways this war bestirred and repulsed the European community. Mr. Preston makes us witnesses to the foolishness of British politicians like Winston Churchill who dismissed the loyalists as murdering propagandists, to the eagerness of Italian territorialists who were eager to extend their influence in Europe, and to the thoughtfulness of German Nazis who were keen to perform a

dress rehearsal of the tactics that they'd soon be deploying against the Europe they intended to conquer. Seeing all these familiar forces arrogantly jockeying for power, while readying themselves for a war from which it would take Europe 50 years to recover, is as eerie as it is sickening. But lest we lose all hope in humanity, the European idealists who came to fight in such an ugly war receive their own lengthy treatment, one in which we see both the selflessness of individuals willing to fight for something bigger than themselves and the terrible price that is paid for that selflessness.

The Spanish Civil War is not a perfect work. It lingers overlong in the esoteric nature of the conflict's background. Moreover, it skims over the fallout from the war, confining it to an all-too-swift epilogue. However, these are but small imperfections on a tapestry that reveals to what tragic degrees humans invest themselves in ideas that, when empowered by collective belief, can set the masses to marching right off the cliff and into darkness. Not a read for the faint of heart... (4/5 Stars)