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When Terry Hayes’ debut novel I Am Pilgrim burst onto the scene a decade ago, it seemed to announce the arrival of a major new talent in the thriller scene. I absolutely loved the book and was very excited to see what he would come up with when his next title, The Year of the Locust, was announced for release in 2016. Unfortunately, the year came and went without the book, as did several more, making it seem as if it might never be published. Lo and behold, 8 years later, it’s finally here, and as it turns out it was worth the wait.
The book is written from the perspective of Kane, a Denied Access Area spy for the CIA. His job is to get into the places that Americans aren’t supposed to go and get back out again without being caught, and he is one of the best in the business. When we meet him, he is being sent to the borderlands of Pakistan, Afghanistan, and Iran to try to gather information about an increasingly powerful terrorist group known as the Army of the Pure. Intel has suggested that they are planning a major attack that will endanger countless people around the world and so it is imperative that he can learn more about the organization so they can be stopped before it is too late. Of course, with these kinds of missions there is a lot that can go wrong, and Kane finds himself in some very bad scenarios, with only his wits and training to help him survive.
Written in a conversational tone and short, punchy chapters (some barely a page long), the novel’s roughly 800 pages fly by. Kane is an easy character to like, and the book can sometimes feel like he’s a friend telling you a story. That story happens to be relentlessly suspenseful though, filled with some of the tensest moments of any book I’ve read in years. I would frequently find myself feeling a palpable sense of relief at the conclusion of a mission, having been every bit as invested in its outcome as the characters involved. Speaking of which, while Kane is the star, the other characters are equally enjoyable to spend time with and help to further draw in the reader.
Hayes has clearly done his homework when it comes to spycraft, providing fascinating insights into that world throughout. Everything is so convincing that it can be hard to tell what’s in actual use or the author’s invention, and while it is all thoroughly explained it never gets boring.
The finale takes the story into some truly surprising territory that readers will never see coming and which raises the stakes to truly astronomical levels. Parts of it require some suspension of disbelief, but Hayes pulls off the shift so well that most readers won’t have any problem going along for the ride. 10 years between books is a long time to wait, but when the result is this thrilling, inventive, and even surprisingly emotional it seems like it paid off. Though, it’s still very early into the year, I’d be surprised if I read a more entertaining book than this one in 2024. ★★★★★
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An insane and unhinged take on the classic cross-country runaway story — the protagonists are more antiheroes than heroes, but you root for them all the way until the last page. The plot is refreshing, the journey you take with Teal and Cody is a blast, and the writing is exceptional. I loved the seemless transition of perspectives, often mid-chapter or even mid-sentence, as well as dream-like explorations of characters who weren’t actually with the leads. Teenager is one of the few books I’ve read that I consider a must read.
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i recently read this cover to cover on a flight home.
i honestly did not expect to become to drawn in, i love a book that puts blinders on me, making me focus in and want to ignore anything off the page.
the not so far off dystopian tone to the novel was eerie but familiar… a story that doesn’t seem too far away.
more like this please.
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This book took me way longer to finish than I would've liked, and I feel like a near month's break I took in the middle definitely hurt some of the momentous momentum it has. Invisible Man at times reads more like a collection of short stories, if only for the miraculously structured chapters and expansive situations it traverses, traveling from genre to genre, at times Kafka-esque body horror, at others pure social satire. The varying shades and tones are not an oversight, however, but rather the rare case of a novel whose point is seen most clearly through a kaleidoscope, communicating not a summarizable idea but an entire way of looking at the world, one where subjugation is a near inevitable death sentence, where visibility is a constant battle, and where ideology is just the raw meat charlatans butcher and sell to the masses. Bleak, hilarious, and always flowing (seriously, the prose in this is just outstanding Americana), Invisible Man lives up to its reputation as a genuinely unclassifiable enigma in the canon.
Jan 22, 2024
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Tried and true formulas work for a reason, and there’s nothing inherently wrong with hewing to them as long as the result is still good, but it’s always exciting for me to watch a movie and feel like I’m seeing something genuinely new and different. Greek filmmaker Yorgos Lanthimos (The Favourite, The Lobster) has so far proven very adept at achieving that, even when building stories around pre-existing works, as he does here. Working off a script by Tony McNamara (The Great, The Favourite as well) based on Alasdair Gray’s 1992 novel which was itself heavily inspired by Mary Shelley’s Frankenstein, Lanthimos has crafted an epic tale of a woman discovering who she is when freed from the restrictive, largely male-imposed norms of the society around her.
Bella Baxter (Emma Stone) is effectively the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a disfigured but respected surgeon in a strange, steampunk-inspired version of old London, whose house is filled with various creatures he’s spliced together. When he discovers the body of a recently deceased woman in the river, he inserts the brain of her unborn child into her head and so brings both back to life. Bella’s brain is not ready to inhabit an adult’s body however, and so she has difficulty walking let alone communicating. For some reason though, the procedure causes her brain to begin developing at a highly increased rate, and she starts picking up language and other more complicated concepts very quickly.
Godwin is impressed by this result and enlists one of his students, Max McCandles (Ramy Youssef) to monitor her and note her progress. Over time, Bella begins to chafe against the strict boundaries placed upon her by her “father” Godwin, demanding to be allowed out into the world, while also beginning to form a deep bond with the sweetly sympathetic (but still meekly complicit) Max. When she encounters the rakish lawyer Duncan Wedderburn (Mark Ruffalo) she is instantly taken by his promise of escape, but not fully understanding the concept of a secret, she blurts out her plans to Godwin. Surprisingly, he realizes that her need to see more of the world is not unreasonable and so he reluctantly assents to let her go. Thus begins Bella’s odyssey around the Mediterranean, in which she experiences much of the good and the bad in the world while learning to take control of her womanhood.
Stone is magnificent as Bella, completely inhabiting each phase of her growth; from the temper tantrums of a child, to the passions of a young woman discovering her body, to the cool, calm demeanor of an intelligent lady who knows exactly what she wants in life. Ruffalo’s strange, unplaceable accent from All the Light We Cannot See seems to have returned here, though it works far better with the overall unusual tone, and he nails the petulant befuddlement of a man realizing that he can’t handle himself when a woman treats him the same way he has long treated women. Dafoe is excellent as always and Youssef charms in his role, though this is truly Stone’s movie through and through.
The world that Lanthimos has dreamt up for our characters to inhabit is striking and captured beautifully by cinematographer Robbie Ryan (C’mon C’mon, The Favourite again). Likewise, the off kilter yet beautiful score by Jerskin Fendrix is a perfect complement to the story. McNamara’s script has stripped the original book to its most essential pieces and is rife with raunchy, absurdist humor, but it’s the film’s deeper themes that make it truly special.
Bella’s life is initially completely controlled by the men around her. Even if they are sometimes well-meaning in their intentions, they are still forcing their ideas of who she should be allowed to become upon her. It is only when she is granted her freedom that she is able to grow into her true self and begin to thrive. She learns several of her own lessons along the way, with the movie even going so far as to spell out one of its main points for her and us, when brothel-owner Swiney tells Bella, “We must experience everything. Not just the good, but degradation, horror, sadness. This makes us whole Bella, makes us people of substance. Not flighty, untouched children. Then we can know the world. And when we know the world, the world is ours.” Imaginative, funny, charming, filthy, wise, engaging, weird, and wonderful, Poor Things is Lanthimos’ best work yet, and a modern adult fairy tale worth treasuring. ★★★★★
RATED R FOR STRONG AND PERVASIVE SEXUAL CONTENT, GRAPHIC NUDITY, DISTURBING MATERIAL, GORE, AND LANGUAGE.
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