Paradox

★★
“Yes, we will watch and enjoy Zoë Bell in anything.”

paradoxEven as a scientist. Seemed like a bit of a stretch for one of our favourite two-fisted heroines, but here, it turns out she’s actually an undercover NSA agent. She is only pretending to be a brainiac, whose cover identity of “Gale” is sent in to infiltrate a mysterious, highly secretive project being run in an underground facility by the equally mysterious “Mr. Landau” (Yoba); he has made a fortune on the stock exchange with an impeccable knowledge of its future movements. Perhaps related, turns out his team have been working on a time-machine, though it requires so much power, it fries the grid over a wide area – not unimportantly, sealing them into the underground base. Their first effort involves sending one of the group, Jim (Huss), ahead an hour; the plan is then for everyone else to “catch up.” A few minutes later, he returns, having seen a future where most of the scientists are dead, and the survivors stalked by an unknown assailant. Can their rapidly approaching. lethal fate be changed, or is it immutable?

I’m a sucker for time-travel films, but they need to be rather more rigorous than this one, which feels sloppy both in tone and execution, as if the makers couldn’t decide quite what they were trying for. One minute, it’s hard sci-fi, the next it’s a slasher pic. No, hang on – it’s a romance between Gale and one of the scientists! Wait, it’s suddenly Zoë Bell kicking ass? Not all of these work equally well, and the shifts between them are rarely less than jarring. There are also plot-holes – not so much with the time-travel aspect, which is handled relatively well, despite a film title that almost appears to be apologizing in advance. Most obviously, how does this underground facility have absolutely no stairs? Or, given the first use of the time-machine triggered a massive black-out, why is it then used repeatedly thereafter without issue?

The cast is equally inconsistent. Bell is, naturally, the best, but Yoba (whom we recognized from Alphas) is okay as an enigma dressed in a dark suit. The rest of the performers, however, appear to have been picked up at random from a local community college; someone needs to check if the director owns a white van or has made large, online purchases of chloroform. For the other actors appear capable of delivering lines or showing emotion – just not both, and certainly not at the same time.  This may be where the film comes closest to the slasher film, in that you care precious little for most of the victims or their fate. I’ll admit that we did not see the final twist coming, and like most time-travel films, may merit a second viewing, just to figure out whether or not it still makes sense, in the light of the late reveal. But there are an awful lot of movies further up the list.

Dir: Michael Hurst
Star: Zoë Bell, Malik Yoba, Adam Huss, Bjørn Alexander

Pride + Prejudice + Zombies

★★★½
“Not the zombie apocalypse I expected.”

ppz09I’d imagine the market who would most appreciate this – those who like early 19th-century literature, but feel it would be improved by the addition of the walking dead – is rather small, which may explain its lackluster performance at the box-office. Personally, I’m more a fan of Victorian and later work, and have never actually read Pride and Prejudice, so suspect all those aspects here, flew entirely over my head. I have, however, seen more than my fair share of zombie flicks, so that’s the angle from which I will be reviewing this. Several angles surprised me. Firstly, it’s not a comedy. While we laughed, the film takes its theme seriously. Secondly, there’s surprising invention here. It’s not just dropping zombies into a costume drama; there’s thought gone into details of the setting, and also ideas such as the undead initially retaining their humanity.

On the other hand, it’s not the action extravaganza I expected from the trailer, and never achieves the all-out heights of excess I was hoping to see. There are some decent sequences, but a number of missed opportunities, for example, in eye-patch wearing aristocrat, Lady Catherine de Bourgh (Lena Headey), who is described as the ultimate bad-ass, yet barely lifts a finger. I expected a massive battle at the end, and didn’t get one; instead, the film almost rubs our face in this, inserting a mid-credits epilogue that’s the biggest tease since the end of My Wife is Gangster 2. Not that you’ll mistake this for anything other than a zombie film, of course, even if it is closer to Pride and Prejudice (and Zombies) – which would make sense since I believe the book was about 85% Austen’s original text. There are still plenty of positives, led by James, as Elizabeth, the feistiest of the five Bennet sisters, whose father (Charles Dance) has brought them up as zombie-killers, much to the concern of their mother (Sally Phillips), who’d rather they married rich.

The story revolves around a love-triangle between Elizabeth, Mr. Darcy (Riley) and Lieutenant Wickham (Huston), unfolding against an the backdrop of an escalating zombie threat, which lurks in almost every hedgerow, whist party and back bedroom. Previously, the walking dead have largely been confined to London, but appear to be developing organization, and given their increasing numbers, this could be disastrous for humanity. Meanwhile, Elizabeth also has to fend off the perhaps even more threatening predations of Parson Collins (Matt Smith), who has been brought in to marry one of the sisters, providing a male heir that will secure the family’s future, since the daughters are unable to inherit property. Her skills are unquestioned, and nicely understated; when Darcy suspects one of Elizabeth’s sisters of being bitten, and releases carrion flies to see if he’s right, she plucks them out of the air, one at a time, and hands them back to him.

Their relationship is another well-handled aspect. This Darcy is not exactly swoonworthy, and hardly the life of the party (no-one who totes carrion flies everywhere they go, ever will be), yet he’s prepared to let Elizabeth be the person she wants to be – a sharp contrast to Collins. It’s her free-spirited nature and stubborn refusal to be ground down by the conventions of society – even the severely-skewed ones of this scenario – which make her an engaging heroine. Other pleasures are the work of Smith and Phillips, adding a great deal of background charm, largely due to their total indifference to the zombie apocalypse – achieving marital bliss is clearly far more important. It probably works better as satire on class, rigid social norms and the British stiff upper-lip, than as real horror; its PG-13 rating obviously limits the latter aspect. As long as you are not going in expecting a Georgian-era version of World War Z, this should be well-made and enjoyable enough.

Dir: Burr Steers
Star: Lily James, Sam Riley, Jack Huston, Bella Heathcote

ppz01

Petty Treason, by Madeleine E. Robins

Literary rating: ★★★★★
Kick-butt quotient: ☆☆

pettytreasonThis second volume of Robins’ high-quality Sarah Tolerance series has much in common with the first book, (Point of Honour, which I’ve already reviewed here) in style and literary strong points; and of course it shares a protagonist and other continuing characters (and an ethos) with its predecessor, and builds on the premise and events laid out there. While it could be read first and still be enjoyed, IMO the series should be read in order to fully understand the characters and relationships (and Sarah’s unique situation), and appreciate their development here.

Six months have passed since the events of Point of Honor; we’re now in November, 1810. In the background, the Napoleonic Wars still drag on, with widespread dissatisfaction on the home front with the sacrifices the government demands to support and provision the troops abroad; and Queen Charlotte’s poor health fuels the poisonous infighting of Whig and Tory factions as they jockey for the possible appointment of a new regent. The book’s cover copy gives a basically accurate explanation of the case confronting Sarah here –except that this is actually NOT a locked room mystery, classic or otherwise; whoever wrote the description didn’t read the book carefully. It’s not her usual type of investigation, and she undertakes it reluctantly; she’s accustomed to inquire after lost articles, errant spouses, social skeletons in the closet, etc –not to track down murderers. But the events of the previous book have demonstrated that she can do the latter; and since the investigating authorities are inclined to pin this crime on the widow, her brother believes that hiring Sarah might be his desperate last chance to find the real culprit and clear his sister.

Robins has crafted a challenging mystery that will satisfy genre fans, and keep them guessing down to the wire; the deceased had secrets that don’t immediately meet the eye, and he wasn’t the only one with things to hide. The pace of the storytelling and investigating is slow, in keeping with transportation by foot or by horse and communication by written messages; we see investigation conducted as it actually would be in this cultural context and with this kind of technology (or lack of technology). We’re also immersed very much in the daily life of a young woman in the Regency world; the way the author brings the milieu to life is a great strength of the series.

That said, the action component here is significantly greater than it was in the first book, reflected in the kick-butt quotient above, which here goes up a star. There’s also much less in the way of actual sexual situations, though Sarah still lives out back of her aunt’s high-society brothel and is close friends with a prostitute, and though her inquiries here will expose her to the ugly world of sexual sadism, where some brothels called “birching houses” cater to the tastes of males who get sexual satisfaction from beating and brutalizing women. As in the first book, there’s not much bad language here; low-life characters use the f-word three times, but in a context where it’s actually the Anglo-Saxon verb these people would use (rather than as an all-purpose expletive, as we hear it nowadays).

Sound historical research underlies the story here, as Robins makes clear in her appended “History and Appreciation.” The details of English criminal law of that day, as given in the book, are accurate; and the attempt to kill one of the king’s sons, the Duke of Cumberland, by his valet Sallis (who committed suicide when it failed) really did take place in May 1810. (In her alternate world here, Robins took the liberty of moving it to August.) And Cumberland actually was, as here, a scandal-ridden High Tory who wasn’t much loved by the populace. An equalitarian feminist subtext set against the backdrop of a very chauvinistic society (and ours really isn’t much less so, though we’re more hypocritical about it) is another strong point here.

Sarah’s a great heroine, who readily earns this reader’s respect and admiration. The snobbier members of Regency High Society don’t consider her a “lady” (and she doesn’t claim to be), and think an unwise choice made in the passion of teenage love should forever brand her as a moral pariah. But most readers will recognize her as a lady, and a classy one, with a very solid moral compass and integrity. And as the best literature always does, this novel focuses on very real moral choices, that will further temper the precious metal of her integrity in a crucible.

There’s no second-in-the-series slump here; if anything, I actually liked this novel even better than the first one! Next year, I’m hoping to read the third installment of the series, The Sleeping Partner.

Author: Madeleine E. Robins
Publisher: Tor, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Peligro… Mujeres en acción!

★★★½
“On Her Mexico’s Secret Service.”

peligrosIn the sixties, it seemed the world was awash in 007-inspired romps, with immaculate-dressed, heroic secret agents from every nation punching, shooting and sleeping their way through friends and enemies, with a quip and a raised eyebrow. One such Bond-wannabe was Alex Dinamo (Alemán), star of two Mexican movies, 1967’s SOS Conspiracion Bikini, and this sequel, made the following year, whose title translates as Danger! Women in Action. Which is where we come in. For despite stemming from a time and place not exactly noted as a bastion of advanced sexual liberation, it manages to be a damn sight more equal-opportunity than any Bond film of its time, or even since. For not only is the chief villain a woman – territory at yet still unexplored by 007 – Dinamo’s is given a sidekick, Maura (Alava), who is equally as competent, and he is happy to use the skill-sets of a number of other women on the battlefield here, without too much in the way of sexist one-liners.

As in its predecessor, the story sees Alex take on shadowy evil organization S.O.S, the Secret Organizational Service, who intend to carry out various terrorist acts in Central and South America, and exploit the resulting chaos. Initially, the target is a refinery in Ecuador, whose destruction will paralyze the country, and it’s only with the timely delivery of information from Barbara (Angely), that the location where the S.O.S. commandos will come ashore is discovered: it’s up to Alex, Maura and Barbara to hold them off in an extended (and quite well-staged) fire-fight. With that dastardly plot foiled, S.O.S’s evil overlady, Solva (Campbell) moves on to a plan to poison the water supply in Puerto Rico with a biological weapon. It’s up to Alex and Maura, this time with the help of an agent working undercover in S.O.S, to foil that plan, by launching an assault on the facility producing the bioweapon. Yeah, there might be some shooting here too. And explosion. Plenty of explosions.

Frankly, it’s strikingly progressive how gender is mainly a non-issue here, though Alex clearly has an eye for the ladies, whose costumes are designed to reveal as much as conceal. In particular, for a terrorist group, S.O.S. appear to be firm believers in affirmative action, with its top tier mostly consisting of women, all the way up to Solva. Similarly, Alex treats Maura, Barbara, etc. as competent individuals in their own right. The main problem is the stuff around the fringes, which is not as exciting as the makers seem to think. For example, there is a sequence of Barbara scuba-diving which seems to go on for ever; while I’m sure that kind of thing was novel and worth touting in the sixties (Thunderball, made a couple of years previously, had exactly the same problem, as I recall), it has not aged well at all. The film is also generally inordinately proud of production values which are no more than workmanlike. On the other hand – literally – you have stuff such as an S.O.S. operative with a gold artificial limb, whom we first see casually sharpening its edge on a whetstone. That’s still pretty cool, and as knockoffs go, this is better than most.

Dir: René Cardona Jr.
Star: Julio Alemán, Priscilla Alava, Elizabeth Campbell, Barbara Angely

Point of Honour, by Madeline E. Robins

Literary rating: ★★★★★
Kick-butt quotient: ☆

“I lost my virginity. I lost my innocence. The world seems to regard this as the same thing as honor, but I do not.”
–Sarah Tolerance, Point of Honour

pointOver the last several decades, the detective genre has come to be graced by quite a few brave, gun-packing female P.I.s, who can handle the rough stuff on the mean streets of the urban jungle, as well as the more cerebral arts of observation and deduction. Robins’ Sarah Tolerance is one of this sisterhood, but with a key difference: her beat is the London of 1810, and the guns she packs are one-shot flintlocks –so it’s practical to wear a sword for backup, and luckily her brother’s now-deceased fencing master (with whom she ran away years ago) taught her to use one very capably. The term P.I. isn’t in use in her world; she bills herself as an “agent of inquiry,” a profession she’s created for herself.

For most serious readers, any mention of the Regency period immediately conjures the thought of Jane Austen, who introduced so many of us to it, and directly or indirectly influenced just about every later writer who employed that setting. Robins is one of them; she calls her predecessor “one of the sharpest, funniest writers in the English language,” and tips a hat to her with the opening sentence here: “It is a truth universally acknowledged….” But the rest of that sentence lets us know immediately that her picture of the Regency world encompasses a much broader and darker canvas than Austen’s: this is not only a world of aristocrats and landed gentry, but of harlots and bawds, pickpockets and Bow Street Runners, and a world where sinister things can go on. And where Austen’s heroines might push the envelope of social conventions a bit (Lizzie Bennett, for instance, is smarter and more outspoken than many males then –or now– are really comfortable with), Sarah will outright defy them. The typical Austen heroine doesn’t pack (and use) weapons, wear male-style breeches and ride a horse astride rather than side-saddle, nor live in a cottage out back of her aunt’s high-end brothel and have a male prostitute for a friend.

This book is a bit of a challenge to classify. It’s definitely a mystery (and, before long, a murder mystery); and one with an indebtedness to Dashiel Hammet that I recognized even before reading Robins’ mention of him in the same sentence with Austen –which has to be the first time in history that pair was juxtaposed! But it also has a claim to be science fiction (if you classify alternate-world yarns as SF), because this is a slightly alternate Regency England, where the regent is Queen Charlotte. (Robins explains the few other minor differences in her “Note on History, and of Thanks.”) This isn’t, as some reviewers have supposed, a pointless quirk; it plays into the fabric of Tory vs. Whig political infighting that’s crucial to the plot. (In writing alternate-world fiction, the diverging premise has to be something that could plausibly have happened. That test is met here, since in this world Prince George’s marriage to a Roman Catholic wasn’t kept secret, and was wildly unpopular with commoners and ruling class alike; and there was ample precedent in other countries for royal women to hold regencies, while England itself had had a few ruling Queens.) It brings to life a setting so nearly like real-world Regency England, though, that it qualifies in my book as historical fiction. (Some people have apparently classified it as a “romance,” but it doesn’t follow the conventions of the romance genre as the book trade would define that.)

If classifying it could be a challenge, though, rating it wasn’t. I really like this period of history (as a fictional setting –I wouldn’t have liked to have lived in it!), with its more formal manners and speech, the slower pace of a world attuned to horses and written messages rather than cars and cell phones, the grace of a lifestyle that’s not yet complicated and coarsened by high technology. Added to the appeal of the setting is that of the central character. Sarah is a wonderful, well-realized creation: not perfect, but principled; kind, generous, honest, smart, brave, capable; no bully, but well able to hold her own in a fight –in short, just about everything I admire in a heroine. Robins delivers a page-turning plot, spiced with some action scenes, centering around a mystery that’s really challenging (I figured out most of it slightly ahead of the big reveal, but not all of it!), and does a good job of tying one plot strand, that might have seemed pointless to some readers, to the main plot in a brilliant way. Her style is pitch-perfect for the setting, with a bit of a 19th-century flavor that’s not exactly like the original, but still lets you know you aren’t reading something dumbed down to the lowest common denominator, nor limited to a 200-word vocabulary. She captures a lot of the authentic idioms and flavor of actual Regency speech, and provides enough description to give the writing a “you are there” quality.

Obviously, her treatment of sexual matters is franker than Austen’s, not shying away from the fact that this was a period with a gender-based double standard that stinks as badly as the manure and sewage in the streets, where just one of the king’s sons had no less than 10 out-of-wedlock kids and London alone had some 50,000 prostitutes (by the century’s end, it would be 100,000). But there’s no explicit sex here, and despite Sarah’s “fallen woman” status and sexual choices we might disagree with, she definitely comes across as a woman who takes sex seriously, who respects herself and others, and doesn’t stoop to exploitative or lewd behavior; nothing she’s done or does here makes us disrespect her. As far as bad language goes, there’s some, as there actually was in the speech of that day; not a plethora of it, and I’d guess mostly not too rough, though I can’t tell. This copy was bought used, and it turns out a previous owner used a dark pen to blot out most of the cuss words. (Sigh! As a writer myself, though I personally feel that usually the less bad language a book has, the better, if a writer chooses to put it in, I think his/her choice should be respected enough to let readers read it as it was intended to be, and make their own evaluations of it.)

Every time I read in this book, I was glued to the page; I’d have read it non-stop if I could have, and as it was finished it in just a bit over two weeks, which for me is a pretty quick read, indicative both of its interest level and its smooth flow. I’d love to see it adapted as a movie, provided it was done faithfully (though Hollywood’s track record for faithful adaptations of books isn’t great)..

Note: There’s some bad language here (as there actually was in the speech of that time), but not much of it. I’m guessing it’s not too rough, but I can’t say for sure –I read this in a used copy, and a previous owner had used a dark pen to blot out most of the cuss words!

Author: Madeleine E. Robins
Publisher: Tor, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Preservation

★★★
“Why we don’t camp: Reason #134.”

preservationIt was supposed to be a nice weekend of camping for husband and wife, Wit (Schmidt) and Mike (Staton), perhaps allowing them to rekindle a spark which has become lost in Mike’s career, though Wit is trying to pluck up the courage to tell him she’s pregnant. Hopes of either are derailed, when their trip becomes a three-way, as they are joined by Mike’s brother, Sean (Schreiber), recently discharged from the Army under circumstances that he won’t talk about. Unfazed by discovering the camp ground that’s their destination is closed, they proceed, Wit learning the ropes of hunting from the two brothers. But the next morning, the three wake up to find themselves stripped of all supplies, down to their shoes, and with a black X written on each of their foreheads. It’s clear somebody – or somebodies – is out to get them, and Wit is going to have to dig very deep and find a way to overcome her civilized sensibilities if she is to make it out alive.

It’s a fairly straightforward survival horror, pitting (mostly) Wit against a trio of masked adversaries, who communicate solely through their mobile phones, also using them to record their kills, in what appears to be a none-too subtle jab at modern culture. Though it is, at least, refreshing to see a modern genre entry which does not include a scene of a character looking at their film and sighing, “No signal…” The transition of Wit, from a vegan who is unable to take an animal’s life – albeit one that’s a trained trauma nurse, and so not exactly fazed by the sight of blood – into a ruthless killing machine, prepared to do anything necessary to survive, is well-managed, with Schmidt, best known for her role in Boardwalk Empire, making for a solid heroine.

Less effectively handled are the relationships between her and the two men, to the extent that neither are necessary to the movie at all. They’re disposed of with relatively little effort, arguably leaving the first half of the film as a waste of time. Nothing much comes, for example, of Sean’s apparently blossoming PTSD, nor do we find out the reason for his discharge. Additionally, early on, it does seem like the attackers have a supernatural aspect, as shown in their ability to absorb punishment and keep on coming, as well as whisking the trio’s tents away without even waking them. Yet this turns out clearly not to be the case, leaving these earlier instances of invulnerability unexplained, and there are too many echoes of another movie with similar themes, Eden Lake. The film is a great deal better when it’s just Wit against the wildlings, and when it reaches there, it’s actually impressively brutal. Just a shame it takes longer than it should to find its footing.

Dir: Christopher Denham
Star: Wrenn Schmidt, Pablo Schreiber, Aaron Staton, Cody Saintgnue

Perfect: Android Rising

★★
“Future imperfect.”

androidFeeling mostly like a fan-film located somewhere between the universes of Robocop and Terminator, this starts with a military project to create a soldier-android, which goes wrong and ends with the creation killing the wife of its creator, Dr. Peter Hess (Lombardi): it’s then abducted from a storage facility, and vanishes. Fast-forward a few years, and Hess tries again, this time creating Lia (Talbott), in the image of his wife: the military, led by General Arken (Zahn)  remain interested, because America has collapsed into internal strife and civil war, with group of rebels taking on the larger forces of the government. As a test, Lia is sent out to exterminate one of their nests, but with the help of an EMP gun, the rebels’ leader, Kass (Williams) captures the attacker. Can she be re-programmed from a mindless killing machine into something bearing a closer resemblance to a human? And what will Lia do if Kass succeeds?

Having enjoyed Notarile’s previous GWG film, Stand Off, this one was somewhat disappointing. The sci-fi oriented theme attempted here requires a little more in the way of production values, than the urban crime one of Stand Off, even if it’s simply to give the impression Lia is stronger, faster or more powerful than a human. That doesn’t happen, and she simply appears bulletproof, so you wonder why they bother. The other main problem is the dialogue. You know how some films sound like people speaking, and in others, it sound like characters saying lines from a script? This definitely falls in the latter department, with too many lines that seem necessary to the plot, rather than flowing naturally from the situation. The re-wiring of Lia is also way too easy: this is supposed to be bleeding-edge military technology, unseen in the civilian world, but I’ve installed browser plugins with more difficulty. Delete one file, tell her, “Hey, you shouldn’t be killing us,” and she goes, “Well, I’m convinced”, then changes sides. And the Genesis subplot is abandoned entirely in the middle, before showing up again at the very end, for no apparent reason beyond foreshadowing a sequel.

This isn’t to say it’s totally without merits. Talbott is rather better as Lia than as Mrs. Hess, capturing the emotionless android well, and the lack of wire-fu or other artificially-enhanced action sometimes does work for the movie. Notarile captures the blasted post-industrial landscape well, getting good bang for his (relatively few) bucks. But unlike Stand Off, this never escapes its low-budget origins. If you’re into fan films, this is respectable enough, and I remain interested in see further work from his Blinky Productions studio – Assassinista looks particularly interesting. However, you need to set your expectations appropriately, and if you’re looking for something reaching the level of a fully-professional feature, you’re going to be disappointed.

Dir: Chris R. Notarile
Star: Roberto Lombardi, Samantha Talbott, Kasey Williams, Rick Zahn

The Pirate Vortex, by Deborah Cannon

Literary rating: ★★★½
Kick-butt quotient: ☆

pirate vortex“Calico Jack” Rackham, a Caribbean pirate hanged soon after his capture in 1720, his lover and fellow pirate Anne Bonny (b. ca. 1700) and a few other characters in this series-opening novel were real-life people, who left behind an historical record in A General History of the Robberies and Murders of the Most Notorious Pyrates (1724), by one Capt. Charles Johnson. (Johnson is otherwise unknown; many scholars surmise, as Cannon assumes in her novel, that this was a pen name used by Daniel Defoe.) That book forms our main historical source for piracy in that era, and Cannon’s portrayal here seems to be basically very faithful to the historical data as far as it goes, including the fact that we know nothing of Bonny’s ultimate fate (so we’re free to speculate about any descendants she may have had…) –but that data is very embellished here, with time-traveling SF elements.

The author and I are Goodreads friends, but I checked a copy of the book out from the library where I work (so, it wasn’t a review copy). My rating correctly indicates that I liked the read. For me personally, a few factors kept it from a higher rating; but it’s quite possible that other readers wouldn’t weigh those as much, and would rate it higher. (In fact, several already have!)

Our heroine, Elizabeth Latimer, is an 18-year-old college student at the Univ. of Victoria near Vancouver in British Columbia, Cannon’s own stamping grounds. We’re not told her exact age until a few chapters in, and many American readers wouldn’t know there’s a Victoria, Canada; I confused it with the Australian state of Victoria for the first couple of chapters. Liz’s mom, Tess Rackham kept her maiden name and formerly taught an Archaeology of Piracy class at the university; but when her husband John Latimer was lost at sea in a sailing accident four years earlier, she quit that job and went into marine salvage with her business partner, Cal Sorensen. Though her dad taught her to sail proficiently, Liz hasn’t since that day.

She has some issues from her dad’s death and her mother’s not very hands-on parenting of herself and her 14-year-old sister, and mixed feelings about her parents’ obsession with pirate history: she aspires to go into business and make a prosaic career on dry land –but she’s the self-styled “queen” of her school’s competitive fencing program, and taking the same class her mother once taught. Then on a spring morning, two things happen: she meets mystery youth Daniel Corker, and learns that her mom is presumed lost at sea, in the Bermuda Triangle area. This sets us up for a time-traveling adventure.

Cannon handles language capably, without the poor grammar and diction that bedevil so many self-published authors; she’s also written novels before, so this is no freshman effort. Her prose style isn’t of a sort that calls attention to itself; it’s straightforward, with a focus on the story. The pace is fast, and the plot exciting and eventful, with an emphasis on events, action, and snappy dialogue. Young Adult readers affluent enough to be tech-savvy are the main target audience, and there’s a fair amount of tech-talk, texting jargon, and pop culture references that this group would be more at home with than some other demographics; but older readers wouldn’t be lost with these either, since the context usually furnishes clues for any meaning that’s essential to get, and the same goes for nautical terms, though there’s aren’t a lot of those.

Bonney,_Anne_(1697-1720)Liz herself is a well-drawn, likeable but not perfect character, with some depth and complexity to her. As an action heroine, her fencing skills don’t match those of seasoned pirates, she’s not a good shot, and she’s an inexperienced horsewoman; and more often than not, she needs male rescue when in jeopardy. (Considering the situations here, the violence in the book is restrained, and almost never lethal.) Given her background and situation, though, this is only realistic. She’s also got enough guts to fight when necessary, thinks quickly and resourcefully, and is a strong swimmer. Other characters, like Lu, Stevie, Cal and Jerrit Wang, are also quite lifelike.

Time-travel writers divide over the question of how they handle time paradoxes. Some take the position that you can’t change the past – whatever you did there, you’ve already done. Cannon and others treat the past as malleable – you can change it, and you’d better not, or you might erase yourself and your whole bloodline! Personally, I prefer the former approach; but it wasn’t a problem to accept the latter as a literary conceit. I did have some issues with the plotting. In several cases, IMO, characters make decisions that aren’t well explained, or that it doesn’t seem like they would have made in real life, although they’re necessary to move the plot the way the author wants; and some difficult operations/problems are solved too easily or coincidentally. At one point, we’re apparently barely off shore from Nassau, traveling by sail –but are in very short order in swimming distance of Jamaica on the far side of Cuba, a journey that would take days at least.

Liz has unexplained telepathic connections with animals, and sometimes with people: we’re told at one point that she can tell if someone is lying, and Tess can psychically tell if Liz is in danger. In a plot that already demands some suspension of disbelief, this for me was an element that stretched credibility a bit too much. And while CJ the parrot is cute, he and the horse Fancy display a lot more intelligence than parrots and horses really have. (Parrots imitate the sounds of human speech, but in real life they don’t know what they’re saying.)

Romance isn’t really a stressed theme; Liz has always been too focused on her studies and her fencing to have much time for boys and dating (her sister Lu, at 14, is the more boy-crazy of the two). That said, she is a healthy 18-year old who’s aware of attractive unattached males and appreciates their awareness of her, and who wants to someday be married. There’s a triangle of speculative interest here, and there will be a kiss before the book ends; so very romance-phobic readers will want to avoid it. This novel completes its story arc, but it leaves a lot of unanswered questions for the sequel(s). Readers who liked this first book will probably want to continue the series; and I definitely plan to set sail with The Jade Pirate myself sometime!

Note: There are a couple of instances of implied sex here, but nothing explicit. There’s some use of d- and h-word language and vulgarisms, but no obscenity and little profanity.

Author: Deborah Cannon
Publisher: Self-published, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Pulptress, edited by Tommy Hancock

Literary rating: ★★★★★
Kick-butt quotient: ☆☆☆

pulptressPro Se Press is a relatively new small press devoted to the tradition of pulp fiction, as exemplified by the U.S. magazines in the earlier part of the 20th century. Through their Pulp Obscura imprint, they rescue older classic stories from undeserved obscurity; and they’re a venue for contemporary “New Pulp” authors, who seek to keep the tradition and its spirit alive. Founding editor Tommy Hancock created the costumed character of the Pulptress as a role for a model to play in representing Pro Se at pulp conventions and other venues (debuting with great success at the first Pulp Ark convention in 2011). It wasn’t long before the idea of using her as a fictional protagonist was born; hence, this first Pulptress story collection of five tales, written by Hancock and four other invited contributors from the Pro Se family.

Our heroine is intentionally something of a mystery woman. As Hancock explains in the short introduction, she’s the orphaned daughter of two pulp era heroes, though we’re not told who (her real first name is Emily, but we don’t know her last name). Fostered by a few other pulp heroes, both classic and New Pulp, who taught her a lot that’s not usually covered in a typical education, she’s now in her 20s. Like Pro Se Press, she’s based in small-town Arkansas; but she travels wherever her mission leads her, and her mission is to help the innocent and take down the perpetrators of evil, working from outside the normal channels of law enforcement and with a variety of aliases. A mistress of disguise and possessed of gymnastic skills that are, I’d say, of Olympic quality, she’s also smart, trained in martial arts, and no slouch with a firearm. While she’s attractive, she’s also described at various points as “strong,” and “buff,” with well-toned muscles –as the cover art indicates, those aren’t antithetical ideas.

A potential problem in this type of collection can be that the individual authors don’t have enough common conception of the main character to make her seem like the same person from story to story. That’s largely not a problem here: the Pulptress is recognizably herself from beginning to end, and all five writers draw her with an appealing, good-hearted and easily likeable personality; she cares about others, and she’s got an obvious zest for the challenging and adventurous elements in what she does. Being adept at hand-to-hand (or foot-to-head, or fist-to-gut, etc. :-) ) fighting, her situation doesn’t require her to use a gun, or lethal force, in all stories, and you get the impression that bringing her (human, at least) opponents in alive is her preference; but as Ron Fortier’s “Butcher’s Festival” indicates, she can also handle situations where that’s not an option. (I didn’t view that as a contradiction, just a flexible response to different circumstances.) A more noticeable contradiction is in the area of speaking style. Like the older pulp yarns that serve as models, none of these stories has a large amount of bad language (some have none), and all the writers here avoid obscenity or misuse of Divine names. But in some stories, our protagonist will cuss some, while in others she doesn’t at all. Most people are more consistent in their speech than that, so it would be more realistic to let her be consistent as well. But this wasn’t a major problem for me!

The quality of the writing in all five stories is good; our authors each have their own style, but they all use description well and bring characters and settings to vivid life. (Andrea Judy’s evocation of the catacombs under the city of Paris is especially memorable; if she hasn’t actually been there, her research was exceptionally good.) The action scenes are (for pulp) realistic, in that we don’t have protracted fights between two combatants who absorb punishment well beyond human capacity and keep fighting; here, a knock-out blow to the head will do what that kind of blow actually does. Emily’s not Super Girl, either; she can be pushed to her absolute physical limit at times, and she doesn’t disdain help or rescue when it’s needed. An interesting feature of the stories is that they sometimes employ other series characters, whose paths cross the Pulptress’ to give her a helping hand: Derrick Ferguson’s Dillon, a black man whose race is underrepresented among pulp heroic figures (used by Hancock in “Black Mask, Big City”), Erwin K. Roberts’ The Voice, and Fortier’s Brother Bones. Obviously, prior knowledge of these characters would enhance those stories, but it isn’t required; I hadn’t encountered any of them before. (If you haven’t, these tales may whet your interest –I’d definitely like to read more Brother Bones stories!) Given my liking for the supernatural in fiction, it was an added plus to find that the menaces in two stories are supernatural, and another has a definitely supernatural important character.

Arguably, I hand out too many five-star ratings; but I loved these stories, and didn’t really see any serious downside here (though you’ll find the occasional minor typo or editorial snafu). If pulp action adventure is your thing, what with no sex, tasteful handling of violence (nothing gratuitous or over-stressed), a conflict of good and evil that you know in your gut the bad guys don’t have a prayer of winning, and a heroine you can respect and admire, you can’t go wrong with this one!

Editor: Tommy Hancock
Publisher: Pro Se Press, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

De Prooi

★★
“As flat as a Dutch landscape.”

deprooiThe life of 17-year-old Valerie (Bouten) is turned upside down when her mother is killed in an apparent hit-and-run accident. But that’s nothing compared to the post-mortem discovery that her mother had never had any children. So who was her real mother? As Valerie tries to pick at the scab of her own history, it becomes increasingly clear that someone does not want the past to be revealed, and is prepared to go to any lengths to make sure she doesn’t open any doors that should remained closed. But who has the most to lose from the skeleton in the closet? Her mother’s former employer, a local lawyer? The garage owner, who  is in her mother’s address-book, but professes angrily never to have heard of her? The creepy next-door neighbour Ria (Fluitsma), who moonlights in a peep show? The ever-so helpful member of the local constabulary, Inspector Mellema (Leysen)? Or even Valerie’s boyfriend, who seems to have an agenda of his own. Though since he’s a teenage boy, that might just be getting into her pants.

This seems to be going for a Dutch giallo feel in some ways, most obviously at the end, in a lengthy sequence where Valerie is pursued through her house by a masked assailant. But it never reaches the necessary levels of nightmarish excess trawled by the best Italian examples, and comes over mostly as listless and uninteresting. Indeed, this could almost pass for a TV movie, outside of Bouten’s fondness for taking her top off, and the previously-mentioned sojourn to a peep-show in the Amsterdam red-light district [which brought back some memories from my wasted youth, having visited said area of iniquity during my college days, around the mid-eighties era when this was made!]. But, like a good number of the other threads here, this subplot doesn’t go anywhere, and the film spends too much time on its red herrings, especially when compared to establishing the motivations of the real culprit. As a result, these come over barely cooked, and not very convincing when revealed.

Bouten does actually make for a half-decent heroine, pursuing the truth about her own background with a steely determination that’s quite endearing, no shortage of personal risk, and not a great deal of help from anyone. Certainly, her boyfriend is a waste of space, and Mellema seems far less committed to the investigation than Valerie. Perhaps fans of Veronica Mars might be more inclined to appreciate this: I’m not among their number – though, admittedly, this is as much due to ignorance as any aversion – and this made almost no impression on me.

Dir: Vivian Pieters
Star: Maayke Bouten, Erik de Vries, Johan Leysen, Marlous Fluitsma
a.k.a. Death in the Shadows, the title under which it shows up in a couple of those monster 50-movie packs, e.g. Suspense Classics or Pure Terror.