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Special Features : Search Inside!
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Given the astonishing length of the writing career of PD James (her first novel was published in 1962), it is perhaps not surprising that her work often consciously refers back to an earlier era of British crime writing -- but it's none-the worse for that. In fact, James' clever and affectionate reinventions of the devices and conventions of that era afford a particular pleasure -- as is the case with her latest, The Private Patient.Uncompromising investigative journalist Rhoda Gradwyn has booked herself into the Chandler Powell private clinic in Dorset. She has decided to remove a disfiguring facial scar, and is looking forward to what she hopes will be a new life after the surgery. But Rhoda will not leave the clinical alive - she is killed. After her murder, Commander Adam Dalgliesh is summoned to investigate. As he begins to examine suspects, scene and motives, a second death occurs, and Dalgliesh finds himself faced with one of the most complex and challenging mysteries of his career.
In many ways, The Private Patient has the structure of a novel from the golden age of crime fiction, and James is well aware of the very best writing from that era (including Cyril Hare, who James succeeded as premier crime writer for her publisher, Faber). Needless to say, she freights in a very modern level of psychological investigation, more penetrating than that of her great predecessors. If the novel seems less initially engaging than other recent work by the author, there is perhaps a subtle agenda here: James is avoiding the more obvious reader-grabbing tactics to present a low-key investigation of character than she has chosen to deal with in recent books. If a little more patience is required than usual, the result of this understated approach pays dividends. And admirers of James (and her doughty detective Dalgliesh) will be prepared to be flexible for the pleasures of the cogently handled narrative here. --Barry Forshaw
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Has any comic been as lauded as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns but Watchmen remains the critics' favourite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's finest creations (Saga of the Swamp Thing, V for Vendetta, and recently From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to garner praise since.The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterisation is as sophisticated as any novel's. Importantly the costumes do not get in the way of the storytelling, rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moore's characters, or with excerpts from another comic book being read by a child within the story), the fine pace of the writing and its humanity mean that Watchmen more than stands up--it retains its crown as the best the genre has yet produced. --Mark Thwaite
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Is it for real? Is The Game by Neill Strauss an assiduously detailed, highly entertaining exposé of a fascinating secret society -- the international community of pickup artists who have refined their talents for getting women into bed to the nth degree? Or is it an extremely funny hoax? Early drafts of the book had people wondering, and men in particular speculated if the book would deliver some valuable `how to' tips as an aid to entering a sexual wonderland. In fact, it doesn't really matter whether you take the basic premise seriously or not: Strauss' wonderfully diverting book delivers great entertainment whatever your point of view.According to Strauss, the clandestine society of men he describes here take wagers in clubs and bars throughout the Western world over just who can chalk up the most Casanova-like quantities of pickups and seductions. But this isn't merely for the thrill of an army of sexual conquests -- all of this is coded and organised according to an almost military-style ritual, with an elaborate series of rules and regulations that the participants rigorously follow. Strauss went undercover in this glamorous world, and learned the secrets of these top-drawer seducers. But, for him, there was a useful corollary affect: Strauss found himself transformed from a nerdish, unconfident journalist into a silver-tongued Lothario, quite the equal of many of the ladykilling males he had been enjoying the company of. For him, the ultimate accolade was being noted The World's Number One Pickup Artist -- and then he made the mistake of setting his sights on a woman who could give every bit as good as she got.
The world of excess presented here is not one most of us move in, but (if the truth were told) it has its irresistible attractions. Strauss wheels in such celebrities as Tom Cruise and Courtney Love, and this unblushing peek into a secret world where sex and seduction are treated with cool scientific detachment is mesmerisingly readable. --Barry Forshaw
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According to Steven R. Covey, to live with security and wisdom, and to have the power to take advantages of the opportunities that change creates, we need fairness, integrity, honesty and human dignity. Quite a tall order when you consider that most of us live our lives in a permanent state of flux, questioning our ideals and values and fighting a daily battle with the lack of self-confidence that stops us from taking risks of any kind. But, in The Seven Habits of Highly Effective People, Covey manages to make it sound as if changing the way we look at ourselves and the world around us so that we can become more successful both personally and professionally an absolute doddle. He defines the "habits" as "the intersection of knowledge, skill and desire" and states that the "Seven Habits" of the title are not mutually exclusive, but rather when developed together help to form a well-rounded, sensitive, confident and effective human being.As with many self-help books, much of what you read here is based on basic common sense and can at times be irritatingly obvious. However, what Covey manages to do so successfully is to break down the barriers which prevent all of us from taking a long hard look at ourselves, and then gradually introduces new rules which allow us to move first from dependence to independence and then towards the ultimate goal of interdependence. But of course, the only real way to test the value of The Habits--be proactive, begin with the end in mind, put first things first, think "win/win", seek first to understand and then to be understood, synergise, sharpen the saw-- is to work on them. This book is as good as any place to start on the road to self-awareness and self-improvement in the workplace and in the home without becoming too irritatingly smug and self-satisfied. --Susan Harrison
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