Sunday 31 January 2021

Glork Patrol, Thorgal, Doctor Who and other reviews in brief

Brief reviews of the books I finished reading this month. Creators, publishers, etc as per Goodreads; apologies to anyone left out.

Marvel Masterworks: The Fantastic Four, Vol. 9, Stan Lee and Jack Kirby (Marvel): Stan and Jack not at their best in this one. The saga of the new house was particularly silly. The Thing as a gladiator on a gangster planet was also fairly daft. ***

The Fourth Power #1: Supramental, Juan Giménez (Humanoids): Graphic novel from Humanoids. Beautiful art, with a story I didn't follow at all till I read the book's description on Comixology. Basically, Earth's been egging on a war, so some of the locals fuse four attractive women into a rather less attractive (but equally buxom) psychic weapon. ***

Rumble, Vol. 1: What Color of Darkness, John Arcudi and James Harren (Image Comics): Good graphic novel by a writer, artist and colourist who all worked on BPRD, and quite a close cousin to that book. A great warrior comes back as a scarecrow, to fight monsters for whom I felt quite sorry, since they were the survivors of a war waged to clear the Earth for us. ***

Thorgal, Vol. 2: The Three Elders of Aran, Grzegorz Rosinski and Jean Van Hamme (Cinebook): Two albums in one. Wish I'd bought the French versions (the English ones are censored and in a different order), but these stories were still enjoyable. Quite old-fashioned, beautifully drawn, in a pick'n'mix world where anything goes, from goblins to UFOs. ***

Babylon Berlin, Arne Jysch and Volker Kutscher (Titan): Very good hard-boiled graphic novel from Hard Case Crime, about a detective in 1930s Berlin. Hoping to wangle a permanent transfer to the homicide division, he plays his cards too close to his chest and gets into a spot of bother. Adapted by Arne Jysch, whose art is excellent. ****

Homeland, Barbara Kingsolver (Faber & Faber): A family takes their Cherokee great-grandma on a road-trip to where she grew up, but it's changed beyond recognition. It's all told from the point of view of a child, Gloria, who is tasked by her great-grandma with remembering everything; the story is one way of keeping that promise. ****

Thorgal, Vol. 3: Beyond the Shadows, Grzegorz Rosinski and Jean Van Hamme (Cinebook Ltd): Best yet of the Cinebook volumes, this includes two linked stories, Beyond the Shadows and The Fall of Brek Zarith, where Thorgal goes on a quest to the underworld and beyond to find his missing wife and child. Gorgeous art, ideal for panel by panel reading on a nice bright screen. ****

Zikora, Chimamanda Ngozi Adichie (Amazon Original Stories): Excellent story, with more character in thirty-five pages than some books do in five hundred, about a woman going through childbirth while thinking about the women in her life and the men who let them (and her) down. I felt much less sympathetic towards her after she had the baby boy circumcised, as if she were punishing him for other men's failures – no wonder he wouldn't stop crying! – but that was all part of what made it so interesting to read. *****

Valentine, Vol. 1, Vanyda (Europe Comics): Sweet, well-observed story about a French teenager who has a group of friends, but not a true best friend, and the leader of the group isn't very nice. It's good, but ends oddly, perhaps because it was originally the first half of a longer black and white book, Celle que je ne suis pas. ***

The Caduca, Elaine Graham-Leigh (The Conrad Press): The first prose novel I finished this year, a political science fiction thriller. I loved it – and not only because TQF gets a nod in the acknowledgments! Review (with appropriate disclaimers regarding my obvious bias) to follow in a future issue of TQF.

The Problem with Men: When is International Men's Day? (And Why it Matters), Richard Herring (Sphere): A funny little book about how he tried for a decade to reply to the hundreds of men who ask the same daft question every International Women's Day: when is it International Men's Day? I might have to buy the audiobook too, just to hear those pathetic, whiny tweets read out loud. It's not perfect: the title's a bit grand for a book with such a narrow focus; the ebook footnotes are confusing; it uses the word gender in some places where sex would make more sense; and it's slightly misleading to say no one gets mad about International Men's Day. Also, I don't think Bill Burr was at all wrong to be suspicious of the inauthenticity of many self-described male feminists. They frequently turn out to be actively sexist and anti-feminist, enthusiastic proponents (and consumers) of prostitution, pornography and paid surrogacy. But it's good. Its biggest strengths are (a) being funny and (b) setting out a vision for what International Men's Day could be about: praising positive male role models, checking in with friends, helping those who need it. A day where we put our energy into being the best men we can be. ***

Thorgal, Vol. 4: The Archers, Grzegorz Rosinski and Jean Van Hamme (Cinebook): Two stories that take place after Thorgal sails off in his little boat and loses it. Left behind on the island, his wife and child have to deal with a supernatural green-haired boy, while Thorgal enters an archery contest to win money for a new boat. Very good, apart from the shocking way Thorgal treats new character Kriss de Valnor. ****

Thorgal, Vol. 5: The Land of Qa, Grzegorz Rosinski and Jean Van Hamme (Cinebook): Another two connected Thorgal stories, both drawn with astonishing detail but censored by the British publisher for the sake of "our more sensitive readers". Thorgal is coerced into a mission by Kriss de Valnor, angrier than ever after the way he treated her in the previous book, while his son gets to meet his grandad from space. ****

Thorgal, Vol. 6: The City of the Lost God, Grzegorz Rosinski and Jean Van Hamme (Cinebook): Another pair of censored but brilliantly-drawn stories conclude Thorgal's mission to bloodthirsty Mayaxatl, and then take him back to Xinjin, where his son Jolan has been installed as a god. Not entirely original, but all the wildly disparate elements are patched together nicely. I have mixed feelings about the censorship. I probably like the books better for them being a bit less exploitative of women's bodies. I might have suggested the same changes myself, if editing the original books. But I'd still rather read the real version and judge that. ****

The Worlds of Thorgal: Louve #1: Raïssa, Yann and Roman Surzhenko (Le Lombard): A spin-off for Thorgal's daughter, Louve, who was still in the planning stages in the last Thorgal book I read. After fighting local boys, she befriends a wolf who was banished from her pack. Different creators, same feel, lots of talking to animals, gets weirder as it goes on. ***

Orion's Outcasts, Vol. 2, Éric Corbeyran and Jorge Miguel (Humanoids): Based on the work of French sf writer Julia Verlanger, this is about Rebecca, an sf hero trying to escape a barbarian world so that she can save its people – despite all their efforts to kill her. Not as good as the first book, and it felt a bit rushed, but it had its moments. ***

Oblivion Song, Vol. 2, Robert Kirkman, Lorenzo De Felici, Annalisa Leoni (Image Comics): Second part of Oblivion Song takes us back and forth between the universes a few times without moving the story forward very far, though there's plenty of personal growth and lots of monster fighting. Like a lot of Robert Kirkman books, it ends very well. Nice art, great colours. ***

Doctor Who: The Fourth Doctor, Vol. 1: Gaze of the Medusa, Gordon Rennie, Emma Beeby, Brian Williamson, Hi-Fi and Alice Zhang (Titan): Fairly good story for the fourth Doctor and Sarah Jane, who tangle with some Greek myths and the woman who worships them. Catches the Doctor's character well and the likenesses are good, but far too many panels stretch across two pages, making it quite irritating to read onscreen. ***

The Case of Charles Dexter Ward, H.P. Lovecraft and I.N.J. Culbard (SelfMadeHero): New edition of the H.P. Lovecraft adaptation by I.N.J. Culbard, published by SelfMade Hero. It's about a weird young man who goes too far in his quest for weird knowledge. Thought I'd read all of Lovecraft's stories, but this wasn't familiar at all. Review to follow in TQF70.

Criminal, Vol. 1: Coward, Ed Brubaker, Sean Phillips and Val Staples (Image): A very good crime story. A pickpocket and occasional bankrobber is persuaded to work a dangerous job, even though he knows something is up. Meanwhile he's trying to look after his mentor, his dad's partner-in-crime, who is suffering from dementia and sexually assaulting his nurses. ****

Exorsisters, Vol. 1, Ian Boothby, Gisèle Lagacé and Pete Pantazis (Image Comics): Two twins (sort of) help people get their souls back from hell, while their mum gets involved in something shadier. It is just getting started by the end, but so far I liked the characters more than I enjoyed the story they were in. They're a bit like Maggie and Hopey crossed with John Constantine. ***

The Power of Negative Thinking, Oliver Burkeman (BBC Digital Audio): Oliver Burkeman always seems so wise and sensible on Twitter and in his Guardian columns, so I got this from Audible and it didn't disappoint. Worrying about whether you can do things better and fretting about what could go wrong can be very useful, properly channelled. ****

Nailbiter, Vol. 1: There Will Be Blood, Joshua Williamson, Mike Henderson, Adam Guzowski and John J. Hill (Image Comics): A town has produced 16 serial killers, each with their own gimmick. A guy who thinks he's figured it out goes missing so his pal stays in town to investigate. The mysteries are interesting and there are some good twists, but there was too much actual nailbiting for my comfort. ***

By The Numbers, Vol. 2: The Road to Cao Bang, Laurent Rullier and Stanislas (Humanoids): A sad story about a young accountant up to no good in Saigon during the dying days of French colonial rule. He falls in love with a woman who loves gambling much more than him. Unusual subject matter for a comic, but I thought it was well-handled. I found the art very appealing. ****

Black History In Its Own Words, Ron Wimberly (Image): Thirty-nine Facebook-friendly portraits of black cultural figures and their words. Not a substantial or always reliable read but the portraits are pretty good. Wasn't sure what to make of Angela Davis's quote about radical meaning "grasping things at the root" being followed by one in praise of onanism… ***

Citizen Jack, Sam Humphries and Tommy Patterson (Image Comics): A sexist, slovenly, mendacious, corrupt man with no understanding of politics decides to run for president and finds that the worse he behaves, the more his public adores him. I don't know how comics creators come up with these crazy ideas! There's also a dolphin news anchor. ***

Doctor Who: Land of the Blind, Scott Gray, Dan Abnett, Lee Sullivan, Gareth Roberts, Nicholas Briggs, Martin Geraghty, David A. Roach, James Offredi, Kate Orman, Gary Russell, Barry Mitchell and Gary Gillatt (Panini): A treat of a book, with black and white retro adventures for the first five Doctors, often with television companions that weren't allowed to appear in the comics of their day. A self-aware commentary from the creators pre-empts criticism, e.g. as to the second Doctor's encounter with a "speculum". ****

Doctor Who: The Child of Time, Jonathan Morris, Martin Geraghty, Dan McDaid and others (Panini): Surprised to see I had this down as unfinished on Goodreads, but there was indeed a bookmark in it. No idea why I stopped reading it with 50 pages of story to go. Enjoyed finishing it off, but the commentary makes writing the strip sound like an utterly miserable experience. ***

Glork Patrol on the Bad Planet, James Kochalka (Top Shelf Productions): Another hilarious adventure for the Glorkian Warrior and his patrol, with a new publisher and at a shorter length. I loved the previous three books, even if they were aimed at children, and this one had me laughing out loud again with its glorious stupidity. ****

The Kamandi Challenge, Tom King, Peter J. Tomasi, Neal Adams, Marguerite Bennett, Dan Jurgens, James Tynion IV, Jimmy Palmiotti, Dan DiDio, Dan Abnett, Paul Levitz, Gail Simone, Rob Williams, Greg Pak, Keith Giffen, Steve Orlando and Bill Willingham (DC Comics): Fairly enjoyable book that tries to recapture the wild creativity of Jack Kirby by getting a ton of top creators to run a relay race with one of his characters, the last boy left alive in a planet of the apes, sharks, rats and robots. Pretty good, but the ending was a bit of a letdown. ***

Women & Power: A Manifesto, Mary Beard (Profile Books): Thought-provoking little book, discussing how "women, even when they are not silenced, still have to pay a very high price for being heard". Also interesting when it talks about "the power of followers not just of leaders" and "women's right to be wrong, at least occasionally". ****

Monday 25 January 2021

The Nostalgia That Never Was, by Rhys Hughes (Gloomy Seahorse Press) | review by Stephen Theaker


A collection of brief pieces (“apocryphal incidents and speculations”) related tangentially to famous figures, who are appearing as visions to Marco Polo. Wikipedia look-up on the Kindle came in handy. The framing device doesn’t really work, since the fragments are nearly always jokes and broken logics from the author’s point of view, rather than the famous figures themselves. It sometimes feels like a compilation of his social media posts. Amusing in places, but not my favourite of his books. ***

Monday 18 January 2021

Star Wars: Dark Disciple, by Christie Golden (Lucas Books/Penguin Random House Audio)

Somebody, Please Kill Me.

(Note: spoilers abound.)

Dark Disciple is a suitably epic tale set amidst the Clone Wars (and based, apparently, on unmade scripts for the animated series). It lays the thematic groundwork for Anakin Skywalker’s fall to the Dark Side. It eschews multiple storylines and tedious politics and concentrates instead on space opera Jedi action. Golden does so much right.

And yet…

The story begins with the Jedi Council, prompted by the ever-bullish Mace Windu, determining that Count Dooku must die. They cannot capture him; ergo, he must be assassinated. The Jedi, in other words, will put everything they believe in aside to end the war. Quinlan Vos – a Jedi Master and expert in undercover work – is assigned the task, and with a view to completing the mission must first gain the trust of Asajj Ventress, Dooku’s erstwhile apprentice, who has turned against the Count and is now forging her way as a bounty hunter.

So far, so good. Vos hides his Jedi abilities and becomes Ventress’s partner. They work well together and Ventress turns out to have redeeming features. She’s not so steeped in the Dark Side as Vos was led to believe. Or rather, she is, but she isn’t controlled by it. Ventress is a Night Sister and her management of the Dark Side isn’t the wholesale abandonment that is so defining of the Sith. This is a key point in the story’s favour. The exploration of the Dark Side as something more subtle than merely the evil Hyde-side of the Force is what makes events plausible (at first). Vos and Ventress fall in love. Their relationship foreshadows that of Anakin and Padme. Narratively, all is well.

Until it isn’t.

In preparing Vos to survive an encounter with Dooku, Ventress has him summon an ancient creature from the swamps of her homeworld. Vos must control it by force of will and then kill it – an execution with no purpose other than to taste the Dark Side. Just as he must cast aside his Jedi ideals to assassinate Dooku, first he must show that he can tap into the Dark Side of the Force and not be consumed by it. He must harness its power but stay in control. In short, he must prepare himself to use evil with good motivation and be able to come back. Bravo! A compelling exploration of everything that fails to come through properly on-screen in the Prequel Trilogy. This is what we should have seen in Anakin’s fall.

Unfortunately, however, Golden becomes so focused on Ventress and Vos that she rather forgets about the central plot angle; that is, the assassination of Dooku. And no matter how sweeping the romance / sacrifice / “has he turned? is he faking?” take on Vos’s embracing of the Dark Side, none of it can work properly if the action makes no sense.

And in this case, it really, really doesn’t.

Cases in point:

1. Vos has been sent to assassinate Dooku. No duelling. No banter. Not dead or alive. Just dead. The whole point is that Dooku won’t be given a chance. Effectively, literally if possible, Vos is to shoot him in the back. Ventress knows this. She’s in on the plan. But what do they do? Vos and Ventress infiltrate one of Dooku’s functions. They undertake to separate Dooku from the protection of General Grievous. Yet, Dooku and Grievous are already separated. New plan: Ventress will announce herself, thus prompting Dooku to call for Grievous, whereupon Vos can waylay the general and then join Ventress against Dooku in exactly the kind of two-on-one lightsaber battle they were looking to avoid. Ventress, to attract Dooku’s attention, steps up behind him and whispers in his ear! She has her lightsaber. He hasn’t sensed her presence. Where’s the sizzle, hiss? That should be the smoking corpse end of the mission right there.

But it isn’t. This is incredibly clumsy plotting and it undermines the thematic heft. How can we explore questions of dark intent if the so-called assassination becomes just a contrived duel of honour? Sigh. Up until this moment I was really enjoying the book! But it doesn’t end there. Vos and Ventress are defeated. Vos is captured and taken away by Dooku to be tortured and turned to the Dark Side. Ventress gathers together a posse of bounty hunters and comes to rescue him. Vos has indeed turned. He resists Ventress. Indeed, he fights against her. Which brings us to…

2. Ventress lures Vos from Dooku’s stronghold. The bounty hunters are holding off Dooku’s droids. Dooku himself has been tangled up in a net. Instead of going with Ventress, Vos continues to fight. He frees Dooku from the net – and later claims that he did so to gain Dooku’s trust so that he could complete the mission of assassinating him! Holy cow. Now, there turns out to be a reason for Vos not killing Dooku there and then. (In essence, he really has turned.) But no-one on the Jedi Council calls him out over the inconsistency.

And so, the back-and-forth continues. Vos becomes Dooku’s right-hand man and new scourge of the war. Ventress, Obi-Wan and Anakin are tasked with a new assignment – to capture Vos and bring him back… or kill him. They infiltrate the ship they believe him to be commanding, but find Dooku instead. Vos, it transpires, is locked up in the ship’s dungeon, still being tortured. He hasn’t been turned after all! And so…

3. Ventress and Obi-Wan run off to liberate Vos, leaving Anakin alone to duel it out with Dooku. The logic here is astounding. What happened to the original mission of “Kill Dooku at any cost”? It’s three-on-one! They can dispose of Dooku together and then see to Vos. But no. Anakin is left by himself. Vos is rescued. Anakin reappears… and the others don’t even ask him what happened. The outcome of his fight with Dooku is never mentioned.

And this is the crux of the problem. Star Wars continuity demands that Dooku survive. The Dark Side plot demands that there always be someone to turn or tempt Vos. Golden has decided that Vos and Ventress’s thwarted love story is everything. Assassinating Dooku was imperative, and is the catalyst for the entire tragedy that Golden wants to explore, yet at every turn it proves an inconvenient hurdle. So much so, that…

4. To top off proceedings, there comes a final showdown. Dooku is badly injured – close to death, in fact. Ventress sacrifices herself to bring Vos back from the Dark Side. Obi-Wan and Anakin arrive and take custody of Dooku. They still don’t kill him. Instead, glossed over in Vos’s grief-stricken fugue, Dooku simply “escapes”. No detail. Not even an attempt to explain how the almost-dead Count gets away from two uninjured Jedi (one of them a Master) and half a clone army. Golden deems this unimportant.

But it’s not. The failure to do away with Dooku – or even to half-plausibly explain it; or even try to – is itself terminal to what the book is trying to achieve. Vos and Ventress should be tragic figures in the mould of Tristan and Isolde, but instead, because the realism isn’t there, they become ridiculous, as do the Jedi and, by association, the Star Wars universe more generally. To repeat: the elements are present. This book could have been a crowning moment in the written canon. Instead, the whole enterprise is just laughable.

(For those interested in such nuances, the Penguin Random House audiobook version rather exacerbates the sense of forced drama, playing out with lame sound effects and an overly emphatic musical score, not to mention Marc Thompson’s this is so powerful I’m describing everything as if– I’m– gritting my teeth and– fighting against– constipation style of delivery.)

Dark Disciple epitomises both what Star Wars does so well (action, adventure, grand sweeping SF mythology) and where it often falls down (romance and credibility, big moment characterisation). Rather than putting paid to Dooku, Golden instead sounds the death knell for my appreciation.

Saturday 16 January 2021

Vivarium | review by Douglas J. Ogurek

Running in circles, digging for answers. And somebody’s watching, but who… or what?

In house number nine, an exhausted Gemma (Imogen Poots) sits on the floor. Clothes spin in the dryer behind her. In front of her, a boy (Senan Jennings) runs in circles and moves into and out of the frame. This seemingly benign scene encapsulates Vivarium, in which a young couple gets lured into a “forever home” in the community of Yonder. In this tract housing development, every home has the same design, the same mint shade of green, and the same fence and yard. And the perfectly spaced clouds are all shaped like… clouds. Gemma, her partner Tom (Jessie Eisenberg), and the odd nameless boy who comes to live with them are the only residents in Yonder. Most disturbing, every time Gemma and Tom try to get away, they end up back at number nine.    

Vivarium, directed by Lorcan Finnegan, brings to mind The Truman Show (1998). However, in this case, the guinea pigs are completely alone and the viewer is just as in the dark as the them. Questions accumulate: What is this place? How will this couple get out? Who (or what) is watching them? “Number nine is not a starter home,” says the awkward salesman (Jonathan Aris) who takes them on a tour. “This house is forever.”

Where this film succeeds is in its placement of an ordinary (perhaps even dull) couple in an extraordinary circumstance, as well as in its exploration of how each of the two protagonists chooses to pursue answers: Tom becomes obsessed with digging a hole in their front yard. Gemma focuses on the boy, whose adult voice, mimicry, and inhuman scream grow increasingly grating to his caretakers. More than once, Gemma tells the freakish boy, “I am not your mother.”

There are some Lost-like things happening, from cryptic television broadcasts to indecipherable symbols. In one especially unsettling scene, the boy imitates someone he claims to have met within the neighborhood. 

Both main actors offer performances that support the consequences of their situation. Poots’s resigned Gemma radiates the malaise that has taken over her life. Eisenberg, despite his reputation as a fast-talking comedy type, adequately portrays the deterioration of a normal guy – there are times when he appears downright menacing. Unfortunately, during a climactic scene, his performance wanes and end ups feeling mawkish. 

Vivarium might stand as an extended metaphor for the young couples who get stuck in parenthood and find themselves in a condition where nothing excites and nothing changes. “Do you remember the wind?” says one character. “The wind was great.” The circle theme resurfaces at the film’s conclusion, which conveys a nihilistic message.—Douglas J. Ogurek ****

Monday 11 January 2021

Heads Will Roll, by Kate McKinnon and Emily Lynne (Audible) | review by Stephen Theaker

This Audible series is written by and stars the reliably hilarious Kate McKinnon and her sister, Emily Lynne. It is often very funny, like an 18-rated version of Radio 4’s Elvenquest, albeit without a studio audience. McKinnon plays Queen Mortuana of the Night Realm, a typical fairy tale evil queen, albeit with a foul mouth and a sex dungeon, who is warned by a soothsayer that a peasant rebellion is imminent. Lynne plays JoJo, a former princess cursed to live as a crow.

Meryl Streep, no less, is in it as the nation’s beloved actor, Catherine Staunch, who becomes a political rival as democracy starts to rear its beautiful head. As well as Peter Dinklage and Carol Kane, there are appearances from half the SNL cast, including Aidy Bryant, Heidi Gardner, Alex Moffat as romantic interest Odin, and Chris Redd as Lil Pelicayne, a prince cursed to live as a pelican. (He raps in character on Flap It Out, available as a free download from Audible.) The chaps from Queer Eye also make a fun appearance, giving Mortuana a makeover.

I hadn’t planned to review this audiobook, but when I found myself handselling it to one person after another online I realised (a) how enthusiastic I was about it and (b) that it might be somewhat quicker to tell you all about it at once in a review. It may not be astonishingly original, but it is a lot of fun, and a good deal of work has clearly gone into it. The only thing that gets a bit annoying is the Yeah Yeah Yeahs song used as the theme song at the beginning of each episode, and that’s only because it’s a bit too loud. ****

Friday 8 January 2021

The Beasts in the Arena, by Sophia McDougall (Gollancz) | review by Stephen Theaker

In a world where the Roman Empire lasted long enough to develop trains, an animal trainer is asked to provide a lion for a celebration of the new emperor. But the lion is dead, and it died on the day the old emperor died. The new emperor might see this as an unwelcome omen. As well as this enjoyable short story, the free ebook also includes a long extract from Romanitas, a novel set 250 years later, by which time the Empire has invented “longvision”, and expanded as far as India and Mexico. Stephen Theaker ***

Monday 4 January 2021

Assassin’s Creed: Gold, by Anthony Del Col (Audible) | review by Stephen Theaker

Aliyah Khan owes her friend’s dad a lot of money. Well, she doesn’t really – he invested in her business and it failed – but she feels like she does. Her attempts to pay him back lead her into contact with the Assassins, who fight throughout history to protect freedom and counter Templar authoritarianism and tyranny. One of the ways they do this is by tapping into the DNA of suitable volunteers, to see if their ancestors came into contact with valuable artefacts and information.

Aliyah’s ancestor, Omar (played by Riz Ahmed), was blind, and thus she is told, “all you need to do is sit back and listen”. This makes these flashbacks ideal for an audio drama, though Omar does possess the magical “eagle vision” of the games, so he is still able to get involved with the action. Much of it involves Isaac Newton, played by Antony Head in the best tradition of historical celebrity guest stars.

This was originally announced as a podcast, but was released as a regular audiobook, albeit one made up of eight episodes of about thirty minutes each. A bit like the film, which I enjoyed more than most, it’s hard to understand why this bothered with a present-day story. In the games it makes sense to have a framing device to take the player into the past, but in a narrative like this it denies the protagonist any agency during large stretches of the story. Why not just tell the whole story in the past? Aaliyah’s frequent and anachronistic interjections just remind you that we’re listening to a replay. But I quite enjoyed it. Riz Ahmed is very good as Omar, and if he returns for a sequel it would probably earn my Audible token. ***

Friday 1 January 2021

Abigail and the Snowman, by Roger Langridge (Kaboom!) | review by Stephen Theaker

When Abigail moves to a new school, the first friend she makes is an abominable snowman. Unfortunately he is being pursued by agents who want him back in captivity. This is a charming book, with smashing art by writer and artist Roger Langridge. The bumbling agents are basically Laurel and Hardy, which is fun, the monster is very sweet, and Abigail is a cool kid, who takes time to think about things, which I always love in a character. But she is, essentially, a nine-year-old girl sneaking an adult male into her bedroom and school, making it rather unsuitable for school libraries. Stephen Theaker ***