Three Junes — Julia Glass

When a book comes highly recommended, I am not one to turn away from it. I know what it feels like to push a certain book with all my heart and soul, hoping people will believe me when I say "This book is simply sensational." This was just such a book, from Carlin, and we chose to do something a little different this month: I would read this, and she would read my recommendation to her, The Time Traveler's Wife. (How many reviews can I mention that book in?!)

I'll start off by saying that Three Junes is no easy read. The writing style is not complicated — it's actually rather simple. But like many books that cover numerous characters and span many, many years, it can seem a little too detailed, covering more than enough of the person's life, until you all of a sudden have to ask, "OK, so... what's the point of this? Where is this story going?"

The book tells three separate stories, centering around (can you guess?) three different Junes for three specific characters. The years covered, however, are numerous, with each story going back and forth through different periods of each character's life. The first subject is Paul McLeod, an older Scotsman who is vacationing in Greece following his wife's death. He tells us about about his life, his wife and her breeding collies, and their sons, along with his search for something on this tour of Greece. The second character (providing the meat of the book and the bulk of the story) is Fenno McLeod, Paul's oldest son. Paul recounts his life in New York City, gay life of the 80's, along with a trip to Scotland for his father's funeral. The final story is the only one told in the third person, centering on Fern — a girl who met Paul during his trip to Greece and who is visiting a friend, Tony, outside New York City.

Yes, it sounds complicated. No, it isn't as complicated to read as it is to describe.

The characters are all connected, their stories overlap, but that is merely a fact of the story, not any sort of plot point. Essentially, their connections make no major difference to their own tales. Fenno's story is the fullest, the most detailed, and covers the most events. It is difficult to figure out just why Glass decided it was necessary to have the two bookends. They were interesting, and I enjoyed them very much (particularly Fern's story, and her own relationships), but Fenno's story could very much have stood on its own.

Even though a lot happens in the book, it becomes clear (not soon enough) that it is about relationships and life decisions and family, more so than any particular events or catastrophes. The best thing about the book is the character development, the unique and beautifully detailed lives of each and every character (and there are many — not just our main three). Among these are Fenno's twin brothers, David and Dennis, who are as individual and interesting as could be for minor characters. (Dennis, without a doubt, was my very favorite.) Also, there is Mal — Fenno's close friend who is slowly dying of AIDS. One of the most interesting aspects of the book is the way their friendship never becomes romantic, and the bonds that can develop in a relationship that doesn't enter into the realm of sex.

I understand what Carlin loved about this book; I enjoyed the same aspects. But I can't say I would recommend it. It didn't capture me the way I felt it should, and there were far too many moments that seemed to repeat itself. Fenno's story (and only Fenno's story) would make a fantastic film, condensing all the many, many details into something a little more streamlined.

Not a total strikeout, but not quite a standout.

**½/*****

The Coma — Alex Garland

Every once in a while, you will be faced with a book that holds what should be a recipe for success: it's short, it's structured and presented in an easy-to-read fashion, it's intriguing, and there are even little pictures scattered about, here and there. Yet, despite all this, it will take you ages to get through because there is just no reason to pick the book back up again once you've decided to put it down. It's books like these that I find particularly difficult to comment on. However, I will try.

The Coma, written by Alex Garland (the 'mastermind' behind the novel The Beach, as well as the films 28 Days Later and Sunshine) presents a straightforward story: a man finds himself trapped in a dreamworld after being put in a coma, and struggles to regain his memory in order to wake up.

This "man," whose true identity even he is unsure about, is Carl. His experience begins as a series of scenes in which he seems to awake, all of a sudden someplace new. For the reader, it is no mystery that he is dreaming, though it takes him a bit longer to figure this out. At least, long enough for us to start thinking "Is his dream-state supposed to shock us, too?" Well, there isn't much shock at all. Anywhere.

He discovers his situation soon enough, often philosophizing on the nature of being awake and what it means to be dead — probably the most interesting aspect of the book. Carl maneuvers through his dreams easy enough once he gets the hang of it, meeting people he either remembers vividly from his life or that appear only as blurry images. The most significant of these people is Christine, a woman he (ergo: we) believe to be his secretary, and who in his dreams he is having a passionate affair with. It is with her he realizes what is happening, and she helps him in his mission to trigger a memory that might prompt him to wake up.

And that is it. Carl and Christine continue on a short, fragmented journey through disjointed memories and images that Carl is able to unearth from the depths of his waste-bin of a brain. Carl never describes himself, and even though he doesn't know much (pst! amnesia) we still never find out much about him. It is for this reason I found it difficult to care much about where the book was taking me.

Where Garland's storytelling lacks in character and plot points, it somewhat makes up for with its structure, illustrating a breathtaking ability to capture — as much as can be — a written example of what it truly feels like to dream. Things aren't always obvious, people aren't always clear, places come and go, and time works in inconceivable ways.

Events move quickly, and though it took me longer than I care to admit to read this book (lack of interest, as opposed to inability to read), it is probably the easiest of any book I've ever picked up (that wasn't for children). Though it didn't particularly grab my interest, I do not feel it was necessarily Garland's fault. I feel as though a novel may not have been the artistic medium for this story. The entire time I was reading it, I tried to picture it as a movie (which was remarkably easy to do) and I found it far more enjoyable.

The writing is decent, the ideas are interesting and imaginative, but the novella seems to be written more as a fictional musing on the nature of dreams than a serious attempt at storytelling. I would say this is the perfect airplane book — something that is simple and reads like a movie on paper. It won't change your life, it isn't even that great, but you could finish it — no problem — if you've got an hour and a half to kill on a plane ride.

**½/*****