A week or so ago, I received the worst review of a book of mine in thirty years. Not surprisingly, it was the Publishers Weekly review of Empress of Eternity. The only good thing I can say about the review was that it appeared almost two months after the book was released. Now… I’ve had good reviews and not so good reviews, and questionable reviews throughout my career, but never a review that so thoroughly trashed a book, especially a book that had received numerous rave and favorable reviews elsewhere. I’ve already been the first to admit that Empress of Eternity, like Haze, is not a book to appeal to everyone, and I certainly wouldn’t object to a review that said just that… and said why. What bothers me about this particular review is that it exemplifies a trend in both books and movies that is both deplorable and, I believe, culturally dangerous.
By its very approach, the review essentially states that, if something isn’t immediately obvious and clear, it’s trash. If it’s not simple and direct, then it’s worthless. That’s like saying a one pound hamburger with American cheese is far superior to a custom-broiled filet mignon with cordon bleu béarnaise sauce. Obviously, tastes differ, and there are times when a hamburger just hits the spot… but please don’t tell me the hamburger is superior in culinary terms.
It’s becoming so that too many reviewers and readers can’t tell the difference between a book that has no characterization to speak of and one in which the characterization is nuanced and subtle. If the writer doesn’t effectively come out and say, “Joseph was devastated,” these readers and reviewers don’t pick up the other clues. The same is true of foreshadowing. The author practically has to post signposts that state “this is important,” or it goes over their heads. This tendency isn’t new. There have been readers with such problems since there have been books. What is new is that, in this “new” era of “everything in your face,” there are more and more of them, and they’re infiltrating the ranks of the reviewers and critics.
The same trends have already occurred in movie-making, and it’s to the point where almost any movie trailer will tell me if it’s an “in your face” movie. In fact, almost all the block-buster movies are these days, and it’s getting harder and harder to find movies with depth, subtlety and nuance. Once upon a time, the banana peel humor was largely limited to the Saturday morning movie serials, and the scatological humor to pornography. No more. Once upon a time, many movies [certainly not all, or even a majority, but enough that one didn’t have to search through a haystack of dross] actually presented brilliant dialogue and depth. No more.
This cheapening and over-simplification of societal entertainment bleeds over into everything else, from supersizing fast foods to the Sarah Palinization of politics, where “in your face” direct simple solutions are the answer. And because everyone has a “simple” solution, no one can understand that big simple solutions don’t work… and never have, not without an extraordinary cost to people. Unfortunately, this past weekend we’ve had what appears to be a reminder of those costs with the shooting of a moderate Congresswoman in Arizona, who, from all accounts was popular with the majority of her district, and unpopular with the extremists in both parties.
So I’ll say it again. Big, simple, extreme solutions aren’t the answer, and never have been. After all, the Russian Revolution of 1917 was certainly a big and simple solution. So were Hitler’s Third Reich, Pol Pot’s Cambodia, and Castro’s Cuban Revolution… as well as all the ethnic cleansing movements throughout the globe. By contrast, from the beginning the American Revolution embodied compromise, a fact conveniently overlooked by the Tea Partiers. Interestingly enough, what it created lasted… so far, but will it survive the “in your face” era?