Review:
Familiar, by J. Robert Lennon
Publisher: |
Greywolf |
Copyright: |
2012 |
ISBN: |
1-55597-535-6 |
Format: |
Hardcover |
Pages: |
205 |
This is the first book of an experiment. I'm fairly well-read in science
fiction and fantasy and increasingly well-read in non-fiction of interest
(although there's always far more of that than I'll get to in a lifetime),
but woefully unfamiliar with what's called "mainstream" literature. Under
the principal that
things people are
excited about are probably exciting, I've wanted to read more and
understand the appeal.
Powell's, which I like to support anyway, has a very nice (albeit somewhat
expensive) book club called
Indiespensable, which sends its subscribers very nice editions of new
works that Powell's thinks are interesting, with a special focus on
independent publishers. So I signed up and hope to stick with it for at
least a year. (The trick will be fitting these books in amongst my
regular reading.)
Familiar is the first feature selection I
received.
Elisa Brown is a mother with a dead son and a living one, a failing
marriage, an affair, and a life that is, in short, falling apart. Then,
while driving back from her annual pilgrimage from her son's grave, the
world seems to twist and change. She finds herself dressed for business,
wearing a nametag and apparently coming back from a work-related
convention, driving a car that's entirely unfamiliar to her. When she
gets home, everything else has changed too: her marriage seems to be on
firmer ground, but based on rules she doesn't understand. She has a
different job, different clothes, a different body in some subtle ways.
And both of her sons are alive.
I'm going to have to have a long argument with myself about where to
(meaninglessly) categorize this on my review site, since in construction
it is an alternate reality story and therefore a standard SF trope. Any
SF reader is going to immediately assume Elisa has somehow been
transported into an alternate reality with a key divergence point from her
own. But that's not Lennon's focus. He stays ambiguous on the question
of whether this is really happening or whether Elisa had some sort of
nervous breakdown, and while some amount of investigation of the situation
does take place, it's the sort of investigation that an average person
with no access to special resources or scientific knowledge and a
completely unbelievable story would be able to do: Internet conspiracy
chatrooms and some rather dodgy characters. The focus is instead on
Elisa's reaction to the situation, her choices about how to treat this new
life, and on how she processes her complex emotions about her family and
herself.
I had profoundly mixed feelings about this book when I finished it, and
revisiting it to review it, I still do. The writing is excellent: spare,
evocative, and enjoyable to read. Lennon has a knack for subjective
description of emotion and physical experience. The reader feels Elisa's
deep discomfort with her changed body and her changed car, her swings
between closed-off emotions and sudden emotional connection with a
specific situation, and her struggle with the baffling question of how to
come to terms with a whole new life. The part of the book from about the
middle to nearly the end is excellent. Video games make an appearance and
are handled surprisingly well. And when Elisa starts being blunt with
people, I found myself both liking her and caring about what happens to
her.
On the other hand,
Familiar also has some serious problems, and one
of the biggest is the reaction I feared I'd have to mainstream literature:
until Elisa started opening up and taking action, I found it extremely
difficult to care about anyone in this book. They're all so profoundly
petty, so closed off and engrossed in what seem like depressing and
utterly boring lives. I'm sure that some of this is intentional and is
there to lay the groundwork for Elisa's own self-discovery, but even
towards the end of that self-discovery, everything here is so relentlessly
middle-class suburbia that I felt stifled just reading about it. I think
it's telling that no one in this book ever seems to have any substantial
problem with money, or even with work. Elisa walks into a job that she's
never done before and within a few weeks is doing it so well that she can
take large amounts of time to wander around for plot purposes.
This is a book about highly privileged people being miserable in a bubble.
While those people certainly do exist, and I can believe that they act
like this, I'm not sure how much I want to read about them. Thankfully,
the plot does lead Elisa to poke some holes in that bubble, if never get
out of it entirely.
This is also another one of those stories in which every character has
massive communication problems. Now, this deserves some caveats: Elisa's
communication problems with her husband are part of the problem that
starts the book and are clearly intentional, as are her communication
difficulties with her children. And she's not really close enough to
anyone to confide in them. But even with those caveats, no one in this
book really talks to anyone else. It's amazing that anyone forms any
connections at all, given how many walls and barriers they have around
themselves. As someone with a bit of a thing for communication, this
drove me nuts to read about, particularly in the first half of the book.
But the worst problem is that Lennon completely blows the ending. And by
that I don't just mean that I disliked the ending. I mean the ending is
so unbelievable and so contrary to the entire rest of the book, at least
the way I was reading and understanding it, that I think
Familiar
is a much better novel if you just remove the final scene entirely. It
was such a bizarre and unnecessary twist that I found it infuriating.
I don't want to spoil an ending, even a bad ending, so I'll only say this:
it felt to me like Lennon just wasn't comfortable with his setting and
plot driver and couldn't leave it alone. I think an experienced SF author
wouldn't have made this mistake. There were two obvious possible
conclusions to draw from the setting, plus a few interesting combinations,
and I think someone comfortable with this sort of alternate reality story
would have taken one of those options, any of which would have been a
reasonable dismount for the plot. Alternately, they could have left it
entirely ambiguous to the end and explored why the explanation may not
actually matter. But Lennon seemed to me to have a tin ear for
plausibility and for the normal flow of this sort of story and seems to
have taken it as license for arbitrary events, thus completely violating
the internal consistency and emergent rules that he'd spent the rest of
the book building.
I've mostly talked about my reactions to the characters and the writing
and have not said much about the plot. That's somewhat intentional, since
figuring out where the story will go is one of the best parts of this
book. It's surprisingly tense and well-crafted for not having that much
inherent dramatic tension. The excellent writing kept me reading through
the first part, when I hated everyone in the story, and then Elisa started
taking responsibility for her own life and actions and I started really
enjoying the book while being constantly surprised. I think it's the sort
of story that's best to take without too much foreknowledge of where it's
going.
I'm going to call this first experiment a qualfied success.
Familiar was certainly interesting to read, and quite different
from what I normally read despite the SF premise. If it weren't for the
ending, I'd be recommending it to other people.
Rating: 6 out of 10