Black Friday Book-buying Suggestions; Go Different

It's coming, can you feel it?  At the end of this week the chaos rules supreme.  We'll be seeing the deplorable competition for cheapie televisions and gadgets.  Let the trampling begin!  There's nothing you can do about it, frankly, and why would you want to.  This is the time of year where I'll offer you - the sensible readers - plenty of Black Friday suggestions, so that you can pass along the gift of the word.  Plus, as always, you won't have to compete with the Wal-Mart set.  Instead, you'll simple navigate your browser to Amazon, click it, and...well, I don't need to tell you, do I?

If you like your books funny-as-hell and themed with the holidays, look no further than Tim Dorsey's novella, When Elves Attack.  Dorsey is an acquired caper, crime maestro tasting sort of fellow.  Personally his Serge A. Storms novels tickle me like a battery-charged Sesame Street toy.  But Elves is like nothing else. 

Simply put, this is an orgy of holiday angst and Serge humor in a very short package.  There's really no real story here.  It mostly brings the characters all to the same Tampa Bay Lane - City & Country, the Davenports, the G-Unit, et al - and let's them all act out.  So, if layoffs have got you down, if you deplore the attitudes of folks at the mall, if you've ever wanted to exact holiday vengeance...well, you'll more than likely be tickled to pieces.  However, be warned...new Dorsey-fans may want to read a few of the other books so they understand how all these characters fit together.  Otherwise, sit back and relax.  The dialogue is rapid-fire, the pacing great, and the funny...well, consider it brought.

For the reader than likes their crime a little grittier, a lot meaner, and perhaps a wee bit deep fried, you might try one of our favorite reads of the year, thus: Joe R. Lansdale's "Devil Red".  This is the latest of the Hap and Leonard adventures and does not disappoint, especially the overall impending sense of doom that accompanies it.  Weirdly, we've always known that both Hap and Leonard are gonna get "banged up a bit", but you always figure that they'll make it out the other side.  This time, it's not like that.  There is a true sense of dread.  It's an outstanding read and hope Lansdale never stops writing these.

But what if you have a reader who need a quick fix and likes the funny, but can hold the crime?  Well, Michael Spradlin has done it again.  Jack and Jill Went Up to Kill.  This is the third entry into this weird way Spradlin can bend words and bring zombies into our pop-culture scene.  It all started with Christmas Carols, then songs, now nursery rhymes.  And they're hilarious.  The art and the rhymes are the best they've been yet!  Trust me!  And at 96 pages, this could round out your stocking stuffers.  In fact, while you're at it, you might eyeball Spradlin's other two zombie rhyming books, and his outstanding YA series - The Youngest Templar.

If you're scouting for biography, look to further.  This has been an outstanding year for nonfiction (specifically bios).  I'm not going to reference anything that features a story about a politico.  What I will reference, though, are two exquisite biographies by two legends of the silver screen.

Drama: An Actors Life is John Lithgow's entry.  Suprisingly poignant, it starts when John was on stage with his father "acting".  The story lovingly pays homage to the craft of theatre, more by looking at Father Lithgow (Lithgow 1.0) than recounting John's own experience.  If that sounds like a bad thing, think again.  This showcases how Lithgow came to respect and love the theatre so much!

Marty Feldman: The Biography of a Comedy Legend is the other.  Robert Ross has put together one of the must read events of the year!  Seriously!  Apparently - and I never knew this - Feldman was planning on an autobiography.  Sadly, passing as early as he did, this never came to pass.  Ross, though, fills in the gaps and introduces us to a genuine mind and a wild world.  Taking notes from all the Feldman recordings, Ross also gets feedback and storytelling from Feldman's family and comedy legends, including, John Cleese, Michael Palin, Mike Myers, and Gene Wilder.  I've already purchased three copies of this book, and I'm sure this will be on the gift giving list for some time to come.

If you're not so much into Hollywood past, or film stars, or nonfiction in general, let's flash back to the fiction world.  If you've got that friend (or if it happens to be you) that excels at reading weird books, or grabbing things that nobody else has, well, here's your veritable goldmine.  2011 has been an outstanding year for the weird.  Call it bizarro, if you want.  Call it just weird if you must.  But do not call it anything other than what it is - GLORIOUS.  Not only did the 'genre' stay weird, it ran the gamut of topics. 

Like heartbreaking and touching.  Maybe not heartbreaking, per se.  There's always a wry humour to Matthew Revert's work.  But, The Tumours Made Me Interesting is totally unique and tonally exquisite.  Rarely do you see a book that can absurdly combine blue humour (see, in honour of Revert, I'm adding the "u" to the words) with thought-provoking morality.  It's a feat that Revert gets to pull off.  If you'd've read Revert's collection, A Million Versions of Right, you knew that this kid was going to rock your stripey socks.  He does again.

If you want your weird a little stronger, a little funnier, and a helluva a lot more graphic, take David Barbee's next book, A Town Called Suckhole.  This thing reads like Barbee's last book, Carnageland, like a video game playing out.  What's different this time around, is a much improved storyteller.  Rather than just aimless violence and a "I'm entertained, but where the hell is this going" feel, you get a A-ha feel with this one.  Plus, it's really hard not to find a giddy pleasure in the fact that you're dealing with rednecks with cybernetic limbs.  After reading this, you kind of have to surf the Internet and make sure that Barbee is Barbee.  David Barbee could easily be a pseudonym for James Gunn.  For real!

And in another, completely different style, let's eyeball Jordan Krall's latest, Beyond the Valley of the Apocalypse Donkeys.  Equal parts noir, romance, and vintage Krall weird, this one is one that is remarkably eye-opening.  I'd witnessed Krall improve from is debut, Piecemeal June, to this one.  But, truly, Apocalypse Donkeys is a little different than we've seen from Krall.  The entire book is so unique that it even includes an afterwards in 8 (count'em) parts.

And, just to be a self-promoter for a moment, if you're looking for your comedy variety of weird, take a peek at two releases I had this year: Karaoke Death Squad and The Copeland Valley Sampler (which features my story "Nyuck, Nyuck").  Copeland Valley Sampler also features stories by the authors Revert and Krall, and is a potpourri of fun.  My story Nyuck, Nyuck imagines a weird western town where the Three Stooges are a gang and Burl Ives is the undertaker.

Karaoke Death Squad is a little more accessible.  An updating of Homer's The Odyssey, Death Squad demonstrates a wild look at karaoke in Baltimore.  But when a gang of sirens invades the scene (and men start disappearing) and begin winning every round, Odie assembles a rag-tag gang to thwart them.  Praised by authors S.G. Browne and Greg Hall, William Pauley III says it may be one of the funniest reads of the year.

Happy shopping.

Must Read of the Week: 11/22/63

This is it.  The actual review of one of the biggest releases of 2011.  It's not, as last week indicated, a continuation  of the aggravations that swirl around this release.  Just a cut and dry review.  And, hint, hint, it's pretty groovy.

11/22/63 focuses in on Jake Epping and is, as most everyone knows, a time travelling epic.  But as King fans have learned over the decades, nothing is ever quite that simple in a King book.  This thing exists on an epic scale, no doubt.  Rather than relying on wormholes, or DeLoreans, or Wellsian Byzantine contraptions, King shrouds it in mystery and places the "portal" in the pantry of a silver diner.

On the surface it sounds quite bland.  An unexplained portal in the pantry of a silver diner?  Well, let's take a look at other King books: a dimensional portal in the trunk of a Buick, gateway to the Territories within a Boardwalk Amusement park...you get the idea.  As always, King makes this work because we don't care so much about the portal.  We don't even care about the time travel so much.  We care about the characters.  Jake Epping posing as George Amberson in the past.

The plot begins its wonder when Al Templeton, owner of said diner, reaches out to Epping, a High School English teacher, and asks him a favor.  Within that span of pages, we learn all we need to know.  Templeton explains how he's been able to offer his "Fatburger" for a buck and change, showcases the portal, and talks to him about changing history.

Templeton worked to change history, firstly, by trying to aide a girl who was shot in a hunting accident.  When he succeeded, the plot got widely more insane - preventing the assassination of JFK.

Skeptical of all of this - and who wouldn't be - Jake is introduced to the portal in the pantry and discovers that it is real.  Also, he learns that whether you're in the past for a minute or four years, real world time is always two minutes.  With Al Templeton's health failing, and Jake's curiosity picqued, our protag hesitantly agrees, but has business to do first.

Y'see, on the side, Epping teaches GED adults.  While mostly for extra cash and almost certainly underwhelming, one essay (authored by a disabled janitor) touches him in ways he can't imagine.  The janitor basically tells of the Halloween night when his entire family was murdered by his father.  Epping opts to test the time travel out by fixing this wrong (much in the way Sam Beckett of Quantum Leap would do).

Going back in time, we happen upon Derry.  Derry, as fans of the Kingverse know, holds some special history.  It's one of the things that offers a very nice Easter egg for the reader.  Especially for those familiar with the town, circa 1958.

What's good about the read is that, in spite of its length, the book moves rapidly.  The characters are engaging enough to keep the reader turning the page.  I never thought that King's storytelling ability would improve, but it does here.  Greatly.  You can feel the fifties and sixties.  The strong contrasts between the simplicity of the past and the Internet and search engines of the future are made with very modest flourishes.  Augmenting it even more are the nods to past King books (something that's become quite a staple).

What's not so good, in regards to the storytelling, is that King tends to write like a geriatric telling a story.  While it is completely engaging, King meanders through the prose.  Oftentimes the reader is still turning the page, but isn't quite sure where the story is headed.  I have seen this in King before, but after the last opus - Under the Dome - I was confident that the length was not always indicative of this trait.

The other problem this book suffers from, in regards to length, is the one catalyst for the story.  The time portal.  The portal transports you into the past, however it only ever takes you to the same point in time - a September afternoon in 1958.  With a title indicating a significant historical event, you can already see the reason the book checks in at around 900 pages.  Besides going back in time, you have to then flash forward and wade through 5 years worth of prose as Jake Epping trudges from September '58 to November '63, and from Maine to Texas.  Hell, within the first 250ish pages, we're still dealing with the janitor's tale (and it is engaging, but...c'mon...get to the Oswald and Kennedy stuff).

Overall, not a disappointing read.  Easily a 4 out of 5 read.  Because of the problems surrounding the release of this book, though, we're strongly pushing this in the libraries.  So, go.  Run to your local library and check a copy out now.  A truly wonderful Fall read.

King and Scribner Perpetuate Tough Economy?

I have a real bone to pick - and it has nothing to do with Joe Paterno.

The Authors Speak has long maintained that we will not post negative reviews.  If we don't like a book, or feel it's poorly written, then we'll simply not mention it.  There's no need in little jabs here and there to negate an artist's vision.  That said, if you're looking for a scathing negative review on King's latest tome, look elsewhere.  That's not the bone I have to pick.

In fact, 11/22/63 is good.  It's not the greatest work that King's put out, but it is solid storytelling (much the same way Under the Dome and Duma Key were).  I liked all of these.  I didn't love them.  But none of them warranted a negative review by any means.

11/22/63 tells a simple story about a man travelling back in time (a local diner holds a time portal to 1958 in its storeroom) and possibly preventing the assassination of JFK.  Okay, it's really not that simple; is anything ever that simple in a King novel?  What's good is you have a sort of vintage King feel here, not so much macabre as it is sci-fi whimsy.  It's not light reading, but it's worth a look see.

So where, then, are the bone(s) I have to pick?  Well, as an admirer of King's work - good or god-awful - I'm finding my patience waning.  Is there any author who has done more for literature than King?  Probably, sure.  But King's got a padded bank account and more money than he probably knows what to do with.

A few years back, when King announced that he's probably be "retiring", I was giddy and saddened.  It was interesting to see an artist (yeah, I said it) calling his career on his own terms.  I mean, Terry Pratchett's still working, but the Alzheimer's has certainly dictated a certain wear and tear on the craft.  Other authors simply write until they pass (rest in peace Stephen Cannell).  King was ready to call it off, retire, live the good ol' life.

That was, until he said he had stories that he'd previously written that he wanted to polish up.

The first of these launched Simpsons-gate.  The much anticipated Under the Dome was released, and instantly drew allusions to the recently released Simpsons movie (specifically seeing Springfield comically ensconced in a giant, government-sanctioned Dome).  While the two were inherently different, both did demonstrate the breakdown of society in a short amount of time.

I fought the ire of fans, standing by King's side and dismissed it as pure coincidence.  I'm not so sure I can do that any longer.

When I saw the description of this book, I instantly had a nugget of a thought.  This sounds like a movie that I've seen before.  After sifting through the cerebral wasteland, I did recall a film - Running Against Time - that was made for television.  It's an atrocity featuring Robert Hays and Catherine Hicks (and when those are your headliners, you can imagine).  Still, in 1990 when I saw it, the film made an impact.  I remember the flick rekindling my interest in time travel in a more realistic setting.

In the film, Hays' character has never gotten over the death of his brother in Vietnam.  With the assistance of a scientist, he travels back in time to thwart the assassination of JFK and prevent the further engagement in Vietnam, thereby saving his brother's life.

Okay, okay, you can decry, who saw this horrid movie.  I get it.  But that's where the bone-picking starts.  Since the movie is far from widely seen, it would be a perfect forum to "borrow" from.

I'll accept that this is, once again, pure coincidence.  The last two novels, though, feel like they were borrowed and stamped with King's signature.  It feels, it felt, it is just not right.  I've got a little demon lurking in my brain that's telling me it's too familiar.  And it's driving me nutsy!

It's also a little evidence that King could potentially toss anything out there and have the thing turn to virtual gold in a matter of minutes (only to see those books on the bargain tables in a year's time).

But the bone-picking doesn't stop there.  I've got a serious bone to pick with Scribner.  I realize that they're the business side of art, but I would like to believe that the artist has a little something to offer about it.

When Under the Dome was released, Scribner and Amazon really stuck it to the brick and mortar stores.  They offered the 1100 page book at $8 on pre-order (later that price would drop to $6.99).  It was the first book to showcase the power online retailers had.  I firmly hold that this was the one, single event that sparked the inevitable downfall of retail stores.

Flash forward a few years and the country is still in the stranglehold of a treacherous (and worsening) economy.  This would be the perfect time to help a few readers out and offer the thing for cheap.  But Scribner's got other plans.

At about 300 pages shy of the Under the Dome mark, the hardcover retails for $35.  The pre-order rate, at its lowest, was $16.99.  Not too bad, and nearly 50% off.  But it misses the mark set by King's previous novel.

If that's not enough, Scribner also drops the ball in the "e-World".  E-readers are the trend (like it or loathe it, and most know we fall in the latter category) and the "now" of literature.  It's inescapable.  So this was yet another opportunity to aide readers, promote literacy, and keep people reading and imagining.  However, Scribner has tightened the price and the options here.  Instead of just procuring the book for your e-reader, you have to purchase the video "extras" as well.  No ifs, ands, or buts about it.  This increases the price quite a bit and offers no breaks for the buyer.

For a decent 5-star read, the experience and all the question marks drops it to an almost 2-star experience.  In fact, unless you've purchased it already, I implore you to check this one out from the library.  Especially since it will undoubtedly sit on a Barnes & Noble bargain bin in a year with the price sticker that reads: $6.99.

The Must Read of the Week: The Copeland Valley Sampler

Copeland Valley SamplerI've not yet seen a literary jam session, such raw, weird talent since the Merry Pranksters roamed the higways in a bus.  Did I seriously just say that?  Did I just compare Jordan Krall, William Pauley III, and Jason Wuchenich to Ken Kesey and company?  Um, I guess I did.

The Copeland Valley Sampler (released just a week ago) displays a wide variety of talent.  Granted, names like Matthew Revert may not leap out at you...yet.  The "Wook", Jason Wuchenich, may not grace the New York Times Bestsellers.  And, you're not likely to see Jordan Krall's name on your child's summer required reading list.  That doesn't mean that they aren't talented.

The authors included in this anthology are all richly talented.  William Pauley (author of Doom Magnetic and the Brothers Crunk), Jordan Krall (author of Fistful of Feet, among others), Matthew Revert (author of my favorite, A Million Versions of Right), and Jason Wuchenich (author of Stinky Incubus), among the others in this collection bring their A-game.

You can't call this experimental fiction; it's not.  In fact, far from it.  It is weird.  It is gritty.  And, yes, it could be labeled a bit bizarro.  What mkes this work transcendant is that every writer just display a sheer love of writing in their own style and voice.  Copeland Valley, the publishing house, places no stigma or category on the style.  That, in itself, makes the reader all the more impressed with the works here.  It was a joy to write, by default, it's a joy to read.

Just like the famous Yippies - those damned Merry Pranksters - discovering their style, albeit under the influence of LSD, these budding writers (some of which, are actually well established) are showcasing what they're true writing mettle is all about.  No boundaries, no hinderances, just pure and raw creative energy.

Currently readers can grab the Copeland Valley Sampler for just $8.95.  At 160 pages, the only thing you'll want is for CVP to keep popping out more and more and more.

The Authors Speak: Kelley Armstrong

A few weeks back (on July 26th, in fact, the day her last book dropped), we offered a few thoughts on Kelley Armstrong's latest Otherworld entry.  I've been a long time fanboy of Armstrong's work.  It's been a solid display of a true virtuoso writer.  That makes the close to this series all the more chilling for me.  Could we be heading to a world where there will be no more Otherworld?  No more new characters? 

Regardless that the series will end next year with the thirteenth installment, Armstrong's still sticking to her talent.  SPELL BOUND is a solid part of the series, one that breaks a lot of the molds already created by authors trying the same feat.  Specifically, when authors revisit all their former characters and shove them into the mix, it comes out, most cases, as a blended convoluted mess.  This is something Kelley Armstrong didn't do. 

Once I realized that her game was truly amped up, it made the disappearance of the series just devastating.  I needed to know WHY was Otherworld fading, and WHAT would I have from Armstrong to tide me over.  Would an Otherworld "novel of the year" might sneak up in a decade or so.  Kelley answers these questions and many more, in our latest The Authors Speak interview.

The Authors Speak: Spell Bound is remarkable, so a special thanks for being as dedicated and loyal to your series as you are. When you put together SPELL BOUND, you brought to us all the protagonists within the Otherworld series. When you started the series, did you expect it to integrate every storyline?

Kelley Armstrong: Not at the beginning, because I had no idea how long the series would be. But after a few books, I started keeping all the narrators integrated in the overall series, so even if they hadn’t narrated in a while, readers didn’t forget them. Then, with Broken, I saw my end-game and started laying down clues and unresolved minor plot threads in every book.

TAS: Now, most authors who start to dabble into the "crossovers" tend to water their prose down and lose a little steam. This one didn't feel like that at all. In fact, quite the contrary, it felt very organic. What process - and execution of tedium - did you utilize to insure that this didn't happen to your babies?

KA: Changing narrators has always kept things fresh for me. With this one, bringing them all back without seeming too much like a reunion book was tricky. But one reason I’d selected Savannah as my final narrator was because she has grown up with all these people and is the character who is most tightly bound to all of them. So it made sense for her to be seeking each one out for help as she deals with her biggest personal and professional challenge.

TAS: I wasn't sure I'd like Savannah Levine as much as I do. I think it was the young edge, the under-experienced detective, though I'm not sure. Much to my surprise, you've really dipped Savannah in the fire to see who she truly is. In fact, at the beginning of this book, she's rendered powerless. Correct me if I'm wrong, but is this the first time one of your supernaturals has not had their supernatural talent? And, follow-up, did you find that this helped in your writing - by adding true fear and paranoia - or challenged your style?

KA: In Waking the Witch, we saw Savannah maturing. However, she was still very “young,” even for twenty-one. She was overly confident, because of her extraordinary level of powers. If I wanted to help her grow up, then, the best way to jumpstart the process was to take away her powers. Spell Bound is about her coming to realize that she needs to be more than just a very powerful witch. Taking her powers made the book more difficult to write, but it’s supposed to be difficult—for her—so it worked.

TAS: We're building to quite the grand finale. Frankly, I'm excited to see what the final Otherworld book will look like. I'm sure fans are in an uproar by the series closing out. What prompted you to sit back and say it was time to bring it to a close?

KA: I’ve known since Broken that I wanted to end at book 13. When I actually drew close, though, I started getting cold feet and thinking maybe it could be a shake-up, rather than a conclusion. After giving it a lot of thought, though, I realized that it was better to end while I was still happy with the series, rather than drag it out until the writing became a chore…and readers started begging for a mercy killing!

TAS: You know (or at least I hope you know) that I'm a bit of a fanboy of yours. Since BITTEN, I've been ravenous about the next Kelley Armstrong - pun intended. Where will your focus go when Otherworld comes to a close? Will it be your YA series or Nadia Stafford?

KA: As much as I love writing YA, I started in adult, so my focus remains there, even if I’m ending a series. I’ve sold a new adult trilogy (Omens & Shadows) that has some supernatural elements, but is more mystery. I’m also trying my hand at middle grade, having just sold a Norse-myth-based trilogy that’ll be co-written with Melissa Marr. Both will start in 2013.

TAS: Thirteen is unlucky for some, but fairly appropriate to the supernatural Otherworld. What can readers expect of your next book - the epic conclusion that will leave a stamp of these characters on the readers brain?

KA: I’m going to answer that with a quote from the book that one of my editors pulled out as a good summation. “Anything you thought you knew about our world? Forget it. Someone has tossed out the rulebook. Ghosts can cross the divide. Hell-hounds can manifest. Demi-demons can possess living children And it’s not going to get any better until it’s over.” As you might guess from that, 13 is my Otherworld upheaval book, when everyone comes together to fight the biggest threat they’ve faced.
TAS: It's an unfair question - I'll start off by saying that from the get-go - but, if you absolutely had to choose your favorite protagonist from this series, who would it be? (Discarding the fact, of course, that there are no absolutes!) Who do you relate to the most?

KA: I don't have a favourite, but some are easier to write than others. Elena is the easiest because I've written the most from her point of view. Because she was the first, she was also the most relatable one for me--I made her my age, from my geographic area, with my education level, etc.

TAS: On the genre front, I'm a sucker for urban fiction. Naturally, others are too! It seems that for every Kelley Armstrong or Jim Butcher or Marjorie Liu, there is a veritable sea of copycats that can best be described as lackluster. You're sort of taking this series out of the arena by closing it. Looking from the (sort of) outside, do you see this subgenre oversaturated and collapsing? Or is it thriving?

KA: Oh, it’s so hard to say. I remember back when I was on my first urban fantasy panel at a convention in 2004 and someone asked an editor how we’d know when this sub-genre was oversaturated. She gave a few warning signs, and I have to admit, they’ve all come to pass in the last few years. Does that I mean I think it’s collapsing, though? No. I would predict a contraction, but those who love the genre will continue reading it.

TAS: Now to the bad news...Borders. It seems with the closing of the Borders franchise, we're headed towards a more electronic future. While you don't write about the future, so much, you do scribe about the unknown. Look into your crystal ball, Kelley, and tell me where you think writers, book lovers, and all those who put them together are headed?

KA: Things are clearly changing, but I don’t agree with the doom-and-gloom hand-wringing I see and hear. I hate to see Borders go. Competition is good for the business. My hope is that it will be seen by others—chains and independents—as a sign that these changing times require changes in the book-business, rather than being seen a death omen for all. Ebooks are causing some grief for writers, publishers and booksellers alike, but they’re also bringing in a fresh crop of tech-savvy new readers. What I can envision is smaller bookstores, with a wider range of titles, but fewer of each, allowing readers to browse (which is very tough in ebook stores) Then, when they have their titles picked, they buy them, on the spot, giving the store credit for the sales. The problem is that there would need to be some incentive for that on-the-spot purchase, to keep customers from browsing in an indie, getting suggestions from their knowledgeable staff, then buying from the deeply discounted online store. Whatever happens, though, I’m optimistic that it will work out—we just need to get through this rough transition patch.

TAS: In closing, and just maybe for a glimmer of hope, will we ever see the occasional pop-up book from Otherworld? You know, it would be like the Jesse Stone movie of the week from CBS or some such.

KA: Actually, yes, and that’s part of the reason I’m okay with ending it now, rather than waiting until I’ve run out of steam. Because I still love working with these characters, I can foresee future short stories with them, and even a future novel or two, when I have an idea I can’t ignore.

TAS: What are you looking forward to most this summer?

KA: Relaxing with my family! Summer isn’t my favourite time for a release, but this year, I’m not doing an official Spell Bound tour, so I’ve been able to enjoy being home with my family.

TAS: Thanks, Kelley!

You can purchase SPELL BOUND by clicking through the link above.  Her latest has already been out two weeks, so no excuses.  Round out your summer reading list now.

Tomorrow we'll be with you for a snapshot of our Must Read of the Week, a little thing I've been giddy about - The Copeland Valley Sampler.

Must Read of the Week: Nerd Do Well

I've always had a fondness for all things Simon Pegg.  Name one person who has not seen, quoted, laughed, and rewatched "Shaun of the Dead".  Hot Fuzz scores big with me, too.  I love Run, Fatboy, Run, ate up his bit part in both Star Trek and Mission Impossible 3, and laughed my ass off at Spaced.  So, when his autobiography dropped, I knew I was in for something special. 

I hadn't a clue.

Simon Pegg is a geektastic nerd of the highest order.  Cut in between the narrative, Pegg pokes fun of himself and the creative process.  He writes a little fiction of him writing the book as some sort of superhero while his robot butler, Canterbury, interrupts him with the Coke Zero/fatty Coke dilemma and other such stuff.  In those moments, you get a sense of Pegg's influences and his style.  For example, here's one of my favorite sentences (maybe ever) about giving Canterbury an earring:

It was the eighties when he had installed the accessory, a time when men wearing earrings was cool and not the least bit twatty.

And...

...said Pegg, standing up to reveal his great body which was muscular but not too big (like Brad Pitt in Fight Club).

This thing is a minefield of pop-culture references.  What's more, if you're a kid who grew up with Star Wars and Raiders and the awesometude of the seventies, then you'll read this and on every single page hear the nostalgic alarm signal in your brain. 

Outside the humour, Pegg really does an outstanding job of offering a very intimate look into his personal life (something, admittedly, he has trouble doing, except with his dog Minnie).  We see the first flirtations with comedy, how his first joke was worked through in his brain.  Also, we see some schoolyard antics that elicited laughter.

You get a glimpse of the confusion of sex in the teens.

We glimpse how everything - every nano-detail - from his past led to the genius of his collaboration with Nick Frost.

And, we learn a little of how this ginger, average-looking guy became a pop-culture hero.

What's Good?  Everything.  Unlike many autobiographical works, this one paces relatively well.  I think that's a nod to those little fiction bits on the creative process.  The humor of the book is outstanding as well; Pegg never onces forces the funny on the reader.  Instead, the reader finds the funny in much the same way that Pegg found his initial funnyside.

There's also a genius easter egg here, too.  You know those Marvel movies and the little scene that is hidden at the end of the credits?  Yeah, thisbook has one of those and it's pure genius.  It just runs after the book...er, uh, rather the trailer.

What's Not So Good?  Not a whole lot.  The book may be the perfect autobiographical work.

Verdict?  Not enough praise can be given.  Worth your money.  If you're a fanboy or girl, a geek, a nerd, a dork, and can remember seeing Star Wars on the big screen this is required reading. 

The Must Read of the Week: Spell Bound by Kelley Armstrong

Hello, my name is Eric and I'm an Otherworld fan. It's not a bad thing at all. In fact, of all the writers writing urban fantasy Kelley Armstrong continues to be one of the best...and sadly, one of the most overlooked in the sea of amateurs. This saddens me, but I still carry a Kelley Armstrong book with a certain sense of pride.  Now that the Otherworld seems to be garnering attention, we're introduced to the last two books of the series.  Two words come to mind - boo and hoo.

While the urban fantasy subgenre has some heavy hitters, most of those writers are focused on one character and their pitfalls.  One of the things that makes Kelley Armstrong's series transcendant is that she has created a fully realized world - one where there are more than just one main protagonist and endearing supporting players.  Yes, there are endearing supporting players.  And, yes, each book features one strong protagonist that we can cheer for.  But, Otherworld continually shifts the focus to different players.  Spell Bound, for instance focuses on Savannah Levine (introduced in Waking the Witch).  This fully actualized world - Otherworld - is on the level with Terry Pratchett's Discworld.  It's that good.  And like Pratchett, I am filled with the sadness of a world with no new Discworld yarns...and, now, no new Otherworld books.

Yes, Armstrong is closing out the Otherworld series at 13 books.  Morose as this makes me, I can't squabble.  She's closing it out with a bang! 

At the end of Waking the Witch, Savannah offered up her powers to reverse a horrific outcome.  While the whimsy of youth makes such drastic deals seem like a good plan, Savannah never once thought that somebody would take her up on the offer.  At the beginning of Spell Bound, we discover that, sure shooting, Savannah Levine is stripped of every power that she ever had...and that makes thwarting the witch hunter on her tail a little problematic.

As if that's not enough, there seems to be all sorts of supernatural activity brewing.  Not only is Savannah going to be impacted by this, but the whole of Otherworld. 

At first I wasn't crazy for Savannah Levine (personally, I prefer Elena) as the spearhead of these last few novels.  This book changed that for me.  I really adore the vulnerability of her character, sans powers.  I also felt that she's the most "aware" of all of Armstrong's characters, if that makes sense.  But, if you've had your heart set on revisiting Elena or Paige or Jaime or Hope...well, it's your lucky day!  The gang is coming back into play, and they're playing with a juggernaut of an evil.

What's Good?  Well, just about everything.  The focus is in place (more focused than Waking the Witch) and the pacing is solid enough.  Kelley once again brings her A-game to the craft, as evidenced by the spot-on dialogue.  And, the length feels right.

What's Not-So-Good?  The only thing that feels a little off is an air of convolutedness.  Allow me to explain.  With this book and the next one signifying the close to a series, there are a lot of loose ends to thread off.  No doubt that Kelley can do it, and the book certainly doesn't suffer for it.  But there are passages that feel slightly forced (like, "Oh, I've got to get that in there, too").  But these are few and far between and really just an indulgent byproduct of my nitpicky side.

Verdict?  Duh!  Purchase the thing.  Already on Amazon, the price is greatly reduced - $14 - and this entry to the series is easily worth that and much, much more.