Fiddler

August 15th, 2010 by Marion

This is apropos of nothing.  I just think it’s one of the best photos I’ve ever taken. I get no credit for the way the tarp they had in the back looks kind of seipa toned, or the way a crease in it crosses the line of her bow exactly,or the inward, calm, thoughtful expression on her face or even the action of her bowing hand.  It’s not perfect (there’s all the clutter in the lower left),but I love how she looks.

The Consultation

August 13th, 2010 by Marion

I paid extra at the conference to have a consultation with an agent.  This is standard conference practice and really is the reason many new writers go to conferences.  They hope they’ll find an agent. I came to MCWC the first time nursing that hope as if it were a flame in a windstorm.  I met a wonderful, interesting encouraging agent who does not represent fantasy and science fiction, but told me to call her when I wrote something that wasn’t category fiction.  Now I think that I’ll never find an agent at MCWC, but the consultations are still interesting—and, you never know. 

I’ll call the agent Julie Faber.  This isn’t her name, but she was a really nice person and I’m going to make fun of her, so, name-change.  I was her last consult before an hour long break, just in time for lunch. Julie had wavy brown hair, drawn off the sides of her face with slim amber-colored barrettes.  Before she struck out on her new career, she edited a well-known short-story magazine, and no, it’s not Glimmer Train. 

We exchanged pleasantries.  She asked which story was mine, and then said, “Oh!  The dog bite story!”  My story opens with a woman being attacked by a fighting dog. 

“I’ve been bitten by dogs several times,” Julie said. 

I thought, oh, great, let me just reopen that trauma for you

“What I meant was, your opening is authentic and scary.” 

“Oh,” I said.  “Oh, good.  Thanks.” 

“And I like your writing.  I like the detail. You’ve got convincing characters with real problems.” 

She picked up the manuscript and started paging through it.  The pages made that shoop-shoop sound as they brushed against each other.  Shoop, shoop, shoop.  “But I had some trouble at the end.” 

“Uh-huh,” I said.  Usually, when a story fails, readers think the ending is the problem.  “It falls apart at the end.”  You hear that a lot.  The ending is usually not the problem; it’s just a symptom.  That could have been what was happening here, but I didn’t think so.  I thought I knew what was coming. 

“She, um, there’s a change in your narrative voice.  A complete change.  It’s very strange.  Suddenly she’s a. . . does she change?  Into a, a dog?” 

“A wolf,” I said.  “It’s a fantasy story.  She turns into a wolf.” 

“A wolf?” 

“It’s a werewolf story.” 

She peered at me, the way I peer at people when they’ve thrown a non-English word into a sentence—like je ne sais quoi—and I have to confirm that I heard it right before I can interpret it.  “Oh.  I wonder how I would know that.” 

How, indeed.  Here’s one way; you are reading a story about an ordinary young woman, only she doesn’t seem quite ordinary.  She seems to have secrets.  Then she transforms into a wolf.  Then you think, “Oh, it’s a werewolf story.”  That’s one way you could know. 

Before I said that, or something less snarky but still snarky, she said, “I don’t read fantasy.  I can’t understand it.” 

I did not say, “No!  Really?”  And I did not say, “Sure you can! You don’t give yourself enough credit.  Look how fast you figured out she was something in the canine family!” I don’t think I actually said anything. 

The magazine she used to edit runs stories that go like this: 

There is a man.  He lives in an apartment.  His apartment is dreary.  The man is depressed.  The man looks out his window and sees a foggy, dismal street.  There follows a paragraph of breathtaking lyricism, describing the foggy dismalness of it all.  The man is building a scale model of the Taj Mahal out of toothpicks.  The man lost someone close to him; maybe an ailing parent, less likely a partner, most likely a child.  The man remembers something surreal, like an angel hovering over the toothpick Taj Mahal.  Sometime later, the story ends. 

The angel is not fantasy, however.  It might be psychological, or it may be symbolic, but it isn’t fantasy, because these stories are literary. 

People like Julie have no trouble believing in situations where no one has to pay the rent and they can stay in their dreary apartment and build toothpick Taj Mahals, but cannot accept that a woman might turn into a wolf, because, that’s, you know fantasy, and they can’t understand fantasy. 

However, there was more to Julie than I might have supposed, because she asked me where I would market a story like this.  I told her.  Then she said, “What kind of story can you write, in fantasy?” 

“Any story you can tell in category fiction or mainstream, you can tell in a fantastical world,” I said.  “It could be a mystery, a family saga, an adventure.”  I tried to think of an example.  “For instance, have you read Toni Morrison?” 

She shook her head.  “No.” 

No?  Nobel Prize for Literature Toni Morrison?  Haven’t read her?  I said, “She has a book called Beloved.  It won the Pulitzer.  One of the main characters is a ghost.  That’s fantasy.”  Less hopefully now, “Have you read Michael Chabon?” 

She looked unsure, started to shake her head. 

“The Yiddish Policeman’s Union.  It’s a police procedure set in an alternate world.  That’s fantasy.” 

She nodded. 

I did not say, “Shakespeare, ever hear of him?  Midsummer Night’s Dream, that’s fantasy; The Tempest, fantasy,” because that would have just been mean. 

I thanked her for her time and left. 

Later I was whining to the others about this experience and Donna said, “That’s interesting.  She was educating herself.” 

So maybe this intelligent, personable young woman is not a complacent bigot after all, and is going to experiment with the world of fantasy.  Maybe she’ll step off Main Street into that narrow, overgrown side alley. What’s the worst that could happen?  The thing all the anti-fantasy bigots–that all bigots, actually, secretly fear; that she’ll grow to love it.

Here’s hoping.

Clementine

August 12th, 2010 by Marion

Clementine, by Cherie Priest; Subterranean Press, 2010

Warning:  May contain spoilers. On the other hand, I’ve also taken liberties.

Opening: Medium Shot

Cover of Clementine.  In the foreground stands an African American man, holding a Gatling gun in his left hand, an ammo belt in his right.  Against a cloudy green-and-peach background, a bronze-colored dirigible hovers. 

Female Narrator (Voice Over)

At just over 200 pages, Cherie Priest’s Clementine reads almost like a screenplay.  The action starts on page 17.

Medium Shot

Two armored airships collide; petal shaped scraps of metal peeling off and falling out and down. 

Hainey (V.O)

That’s my ship.  That’s my ship!

 Montage

A male back, dark-skinned, marked with weals and pinkish scars; a woman in a low cut bodice, lots of cleavage, smiling, her eyes are in shadow; Lamar, under the instrument panel of an airship; Simeon, loading a pistol and looking worried; Ossian Steen, peeling an orange with a long knife; arial view of two airships; exterior of an 1880’s building with a sign “Pinkerton Detectives;” a woman walking away from the camera, narrow-waisted, with voluminous hoop skirts, past two men.  One narrows his eyes, one raises his hat; Allan Pinkerton, leans back in chair, folds hand; a woman’s hand places a Civil War vintage pistol into a carpetbag.

 Narrator (V.O.)

All Captain Hainey, escaped slave turned air pirate, wants, is to get his ship back, but he has no idea he going up against the Pinkerton’s newest operative, and the Confederacy’s most successful spy.

 Fade In:

Phinton, full face, smirking. 

Phinton

Pardon me, ma’am, but would you not be the fine stage actress and notorious confederate spy Belle Boyd? 

Maria (O.S)

Nobody calls me Belle. 

Montage 

Simeon

That’s Belle—

 Lamar

Belle.

 Ossain Steen

Belle Boyd 

Hainey

That’s Belle Boyd.

 Montage

Dark, cluttered interior with a strange machine, brass and copper, lots of tubes, in middle background; a boy’s face, frightened; an airship exploding; Marie, firing a pistol; dashboard of an airship; a map of the United States, the Mason-Dixon line in dark red; an orange jewel as big as a tangerine. 

Narrator (V.O.)

In a world where the American Civil War went on for twenty years; where loyalties shift without warning 

Montage

A telegram; an airship lifting away from a tether; Hainey, yelling, as he fires the Gatling gun, teardrops of flame flaring around its muzzle.

 Narrator (V.O.)

Can an escaped slave and a betrayed spy work together? 

Camera zooms

 in on an airship.

Jump cut

to the gun turret.  Maria fires a Gatling gun.  Camera pans from over Maria’s shoulder to track the gun. 

Maria (V.O.)

I’ve never been asked to sit still and look pretty.

 Montage

Dark-skinned hands play over a steam-punk style instrument panel; woman’s arms embrace the frightened looking boy; and old man’s hands, veined and shaky, place the orange jewel into a brass and copper setting. 

Narrator: (V.O.)

Are the characters complex?  No.  Is the action intense?  Yes. 

Close up

Maria’s hands clutch a metal ledge.  Camera zooms back to medium shot:  Maria clinging to a ledge.  Camera zooms back; Maria hanging from the edge of the gun turret of an airship sailing through clouds. 

Narrator: (V.O.)

Like a great action flick. 

Close up

Maria’s hand slips free.  Maria’s other hand slips free. 

Narrator (V.O.)

With good suspense.

 Close shot 

Dr. Smeek’s face, looking frightened 

Close Shot

  Maria’s face 

Close Shot

  Hainey’s face. 

Hainey

She’s my ship.  I stole her fair and square, and I’ll do what it takes to get her back. 

Medium shot

Maria, running through trees, skirts without hoops caught up in one hand.  Union soldiers are firing at her. 

Narrator: (V.O.)

An easy read.  An interesting world. 

Close up

Maria’s hand, reaching.  We hear gunshots behind her. 

Narrator: (V.O.)

Strap in. 

Medium Shot

Hainey braced in doorway of airship, reaching down with one hand 

Camera pans to

Maria running, reaching up.

 Narrator (V.O.)

Grab something. 

Close shot

Hainey’s hand.  He grabs Maria’s. 

Narrator (V.O.) 

And hold on.  

Final shot

An airship rises above a line of trees.  Suddenly a yellow fireball engulfs it.  Flames roll toward the audience.

Narrator (V.O.)

Clementine.

 

Tales of the Harbor Lite: Room 309

August 10th, 2010 by Marion

The Harbor Lite Hotel curves around the top of the harbor, two stories of dark brown wood,  just over the long bridge at the mouth of the Noyo River. The place caters to tourists who fish, with a cleaning station on the ground floor and polite signs scattered about asking fishers to please keep their catch in a cooler and not in the mini-fridges in the rooms.  My second-floor room, room 309 –no, I don’t get it either—had a redwood balcony with two metal patio chairs and a small round table. Looking out from it, I could see the tall pylons and the bridge, the stretch of businesses south of the bridge, the curve of the river, the parking lots and buildings of the waterfront,  the boats and the seals. The marina is actually farther southeast around the curve, so most of the boats I watched were either coming out or going in. 

Most mornings, the cup of the harbor was filled with layers of thick gray condensation.  Thursday and Friday, the fog never broke, so I came back in the afternoon or evening to a gray landscape. 

The Harbor Lite didn’t have the laminated “Do Not Disturb/Maid Service Please” signs that you hang over the door.  Instead, they had a little switch on the door, level with the peep-hole.  Crank the switch one way, and a metal plaque saying “Maid Service Needed” popped into view on the outside of the door.  Crank it the other and it read, “Do Not Disturb.”  I have never seen this before, anywhere but here.  It seemed very retro, sort of 1970’s state-of-the-art.  I decided later that is showed some “green” sensibility, since they never have to replace the laminated cards.  

Friday, when I got back to my room, I flipped the switch to “Do Not Disturb.”  I don’t know why I did this; housekeeping had come and gone.  It’s a habit.  I also shot the deadbolt because I tell myself I’m big on hotel security. I wasn’t planning to go anywhere for dinner because just an hour earlier I had eaten a scone, with a coffee drink, at the Headlands Coffee Company.  I had crackers and cheese, some fresh blueberries I had brought from home, and a nectarine.  That seemed like a good-enough dinner, especially since I had a Lee Childs thriller, Nothing to Lose, as a complement. 

About eight o’clock I was sitting on the edge of the bed, one leg tucked under me, one on the floor, reading and sipping from a plastic glass filled with ice and fizzy mineral water.  Someone thumped on the door three times.  I jerked and splashed water on my pants.  They thumped again.  

I got up and started for the door.  My heartbeat jolted a little when I thought it could be some kind of emergency.  Another pace, and I wondered if it were someone from the conference.  Donna, Mark, Cheryl and Jerry were staying across the highway at the Emerald Dolphin, but there were others from the conference staying here.  How would they know my room number, though?  “Who’s there?” 

Someone warbled, “Housekeeping,” in a falsetto.  As the word implies, a fake high-pitched voice.  I stopped in front of the door.

 Several years ago I went to Orcas Island, in Puget Sound, to visit my dad and stepmother.  I stayed at the Orcas Hotel, the refurbished Victorian Inn across the street from the ferry landing.  I had made it onto the island that day, had dinner with the folks, and about nine pm I was in pajamas and a robe, under the covers with a book, when someone pounded on my door.  “Come out, gorgeous!” a man bellowed.  It freaked me out.  There was a popular bar on the ground floor; now I was going to have to interact with some guy for whom happy hour had lasted 180 minutes.  Sighing, I slipped my feet out from under the blankets, when the same man, sounding less hearty and more tentative, said, “Marion?”  It was my stepbrother. 

Later he said, “With my luck, I thought I had the wrong room.”  Then he told me a story about his uncle, who had stopped at a hotel where he knew sister-in-law was staying.  After a couple of beers in the lounge, his uncle went up and pounded on the door, saying “Come out, gorgeous!”  And he did have the wrong room. 

It was not likely to be either of my stepbrothers standing on the threshold of my Fort Bragg hotel room. 

I looked through the peep-hole at a slender young guy with short blond hair, wearing a camo T-shirt, who peered back in my general direction.  His skin had a golden tone and his eyes looked dark.  He was grinning.  I didn’t know him.  I already felt bad, knowing I was going to spoil the joke. 

I unlatched the bolt and opened the door.  So much for hotel safety. 

His eyes widened.  “Oh, fu—uh, um, I’m sorry!” he said.  He looked over his shoulder, over the railing into the parking lot.  “You guys!  You told me 309!” The intended surprise was clearly on him.

 From below, “That’s what he said!” someone shouted back. 

I smiled. “Wrong room?” 

“Oh, God, I’m sorry,” he said again. 

I felt like I should say I was sorry for dashing his expectations, but I just smiled again and closed the door.  

I hope he found the right room eventually and was able to carry out his surprise.  This might be a cautionary tale, though; for him, not for me.  It’s not about opening the door.  Maybe the moral of the story is about the benefits of doing your own research.

Meet Your New APR

August 6th, 2010 by Marion

I got a credit card offer in the mail today from Citi.  I’d been pre-approved to apply, it told me, or I could just go to their website and I’d be approved in fewer than five minutes.  (I wonder if the new Consumer Protection Act requires all the same information be displayed on the websites).

The application that was enclosed looked like a check, and it had two blank areas to list information and a place to sign my name, and that was it.  Easy-peasy. 

I already have all the credit cards I need (two), but I unfolded the Citi Disclosures form that they are now required to print in a font size a human being can read, instead of in the pt1 font they used to use.  The disclosure was interesting. 

Interest Rates (yes, this caught my interest all right):

Introductory, until 10/1/2011—-0%

After that, 9.99% which might fluctuate with the Prime Rate. 

APR on balance transfers, which are encouraged in the advertizing material:  25.24%

Penalty APR, and when it applies.  Penalty:  Up to 29.99% based on “your creditworthiness.”  It may be applied if I make a late payment, or pay with a check that bounces.  How long will I have up to 29.99% as my APR?  Well, that’s interesting.  It could possibly be lowered on existing purchases ( in other words, the balance up until the payment I missed,) if I make timely minimum payments for six consecutive months; however, on any transactions going forward, the “penalty” APR may apply indefinitely.  In other words, meet your new APR; 29.99%

There is also a late fee in addition to the “penalty APR” and a minimum interest charge regardless of what percentage of the balance it is.  The min interest is 50 cents.  If I make a mistake on my payment and leave a balance of one dollar for a month, they will charge me 50 cents in interest. 

I don’t think any of this is new.  I think the fact that I can easily read it is new, and I can see why the banks and credit companies weren’t happy with the law that got passed.  They have to actually admit how they make their money.  That’s got to be embarrassing. 

Don’t get me wrong.  I know banks and credit cards companies are in business to make money.  It’s amazing to discover, retroactively, just what they were trying to hide from us for all these years. 

Needless to say, I did not enclose my “easy application” in the postage paid envelope.  Instead I included a polite note asking if they were the same Citicorp that nearly bankrupted us, since that was the only Citi with which I was familiar, and suggesting that applying for a credit card with them would not be a desirable thing to do. I sent the note back to them, on their 44 cents.

Equality; For Now

August 4th, 2010 by Marion

Judge Vaughan Walker ruled that California’s Proposition 8 is unconstitutional.  Prop 8 changed language in the California constitution to define marriage as comprising “one man and one woman.” 

I’m sure in Salt Lake City, and the Vatican City in Rome, there are some unhappy people tonight.

Some more bad news for the supporters of Prop 8:  the 138 page decision is thorough, meticulous and thoughtfully rendered.  Walker knew this would be appealed and made some decisions early on (such as the decision to have a trial) that would make it harder later for people to find the basis for an appeal.

Here is part of the Washington Post’s article:

“A federal judge in California ruled Wednesday that the state’s ban on same-sex marriage violates the constitutional right to equal protection, the first step in a legal struggle that is widely expected to end at the Supreme Court.

Judge Vaughn R. Walker wrote that Proposition 8, which voters approved as an amendment to the state constitution in 2008, “fails to advance any rational basis in singling out gay men and lesbians for denial of a marriage license.”

“Indeed, the evidence shows Proposition 8 does nothing more than enshrine in the California constitution the notion that opposite sex couples are superior to same sex couples,” wrote Vaughan, chief judge of the U.S. District Court for the Northern District of California in San Francisco.

The amendment outlawed same-sex marriage five months after the state Supreme Court legalized it. Walker was asked to decide whether limiting marriage to opposite-sex couples violated the U.S. Constitution’s guarantees of due process and equal protection.

The ban’s supporters said they would immediately appeal to the U.S. Court of Appeals for the 9th Circuit. Walker stayed his ruling to give them time to argue that it should remain stayed while the case is on appeal.

“What’s at stake here is bigger than California,” Andrew Pugno, an attorney representing Proposition 8 supporters, said in a statement.”

Yes, indeed, Mr. Pugno.  What’s at stake is equality, pure and simple.

Breakfast at the Harbor

August 2nd, 2010 by Marion

Sunday,7:57 am.

I pulled into a parking space right in front of the narrow one-story blue diner. The sign read “Open,” but no lights were on inside. A small silvery SUV pulled in next to me. In the passenger seat, a thin woman, her brown hair scooped up on top of her head, fumbled with her shoulder harness, twisting back and forth. I recognized her from the last time I had eaten here. She shoved open the door and bounced out.

I said, “Good morning. Are you going to be open?”

“Sure, sure, let me get some coffee started and we’ll be open,” she said, shrugging out of a quilted black jacket and tossing it into the back seat. “You can hang out.” The driver, the man, walked in ahead of her without speaking, keys in one hand. I followed them in. The man’s sweater was a brownish green color, like the algae you can find along the edges of the Noyo River in the late summer. There was no breakfast menu posted.

The unlit room was cool, smelling of fish and charred wood. I walked to the table at the end of the dining room. The air got colder as I walked. Pale yellow crumbs dotted the table like pebbles. I used my forearm to brush them off.

Behind me, metal squealed. I turned. The man held up a spill of newsprint, lit it, and fed it into the open maw of the woodstove. He peered over at me. His eyebrows winged up at the ends and his eyes matched the color of his sweater. “Did you open that window?” he said, pointing past me.

I shook my head. I hadn’t touched anything except the table. He shut the stove door and walked over. “I’d better close it then.” He slid the window shut. “I guess that was open all night. That’s not good.”

“You don’t want the raccoons getting in.”

“People break in here,” he said. “They have. They, they go for the wine.”

I nodded, surprised. I had thought he was going to say, “cash,” even though I’m sure they empty the till every night.

While the coffee brewed I walked outside onto the wharf. The fog, which had been drifting in steadily since dawn, had condensed, turning the buildings on the cliff rim into blunt shadows and the bridge into a trailing arch of silver under gray. I took a couple of pictures and watched a seal stitch its way in long loops through the dark green water.

Saturday, the day had dawned with a faint sparkling of mist around the edges of the harbor cliffs, which soon evaporated, leaving a glorious day filled with blue skies and a blue ocean, complete with a cool breeze. This morning, checking out of my hotel, I said to the clerk, “Yesterday sure was pretty.”

“We have a name for that up here,” she said. “We call it a miracle.”

Back inside the restaurant, the coffee was ready. The woman served it in a white cup with a curlicued handle, a small blue flower on each face of the cup. The coffee was not as strong as it smelled, but it warmed my tongue. I got into a conversation with the man in the green sweater. It started with him asking where I was from. I told him; he decided that made me almost a local.

We discussed the standards for “local;” he said they had moved there ten years ago and were still not considered locals. I told him about my parents moving to Puget Sound in the 1970s and how twenty years later people on the island talked about them as “those new folks down at West Beach.” He talked about the web of related families on this stretch of Mendocino coast; the businessmen, fishermen and homeless bums who all went through school together, married each other’s sisters, and that you can’t break into that. Even when they hate each other, even when they feud, they’re family. I said that I had noticed that many of the names in Fort Bragg, Caspar and Mendocino went back several generations and he agreed.

He asked if I were a teacher. “You’re very verbal,” he said. “Articulate, I mean. Most people like you, when they come in here and start asking questions or strike up a conversation, they’re usually teachers.”

I told him I wasn’t, that I’d been here for the writing conference.

“I used to teach writing,” he said, “In Arizona at a private college. Twenty years ago, before I blew up my life with drugs and politics. I got out. I had to do something really different. Now I don’t read fiction, hardly at all, maybe one book a year.”

“Well, that’s sad,” I said.

He disagreed. While he was talking about TS Eliot, Melville and Faulkner, which kids used to read in school (but not anymore) the woman brought me my French toast. The thick slices of battered bread were piled overlapping on the diagonal, forming a starburst, wedges of cantaloupe, pineapple and kiwi interspersed. The cook brought the same eye to her food presentation as she does to her fractal paintings which lined the inner wall. I told her that. She gave me a smile; the muscles around the mouth moved but the ones around her faded-denim blue eyes did not.

While I was excavating my way around the architecture of my breakfast a couple came in, about equal height, slender. She had short russet hair highlighted with strands of gray. He had a trimmed gray beard and gray hair.

“Now these folks, they don’t talk at all,” said the man in the green sweater.

“Not a word,” the woman said. “Here’s what I’d like,” and she ordered without seeing a menu, all side orders, nothing that had been printed on the broadsheet I had been given.

The man pulled out a small laptop and opened it. He shared some footage, apparently, with the Green Sweater man. At the end they laughed and all said, “Good dog.”

Green Sweater Man came back over to my table. He said he wanted to recommend a book to me; he didn’t remember the author but the title was Story. It was a how-to book about writing for Hollywood, and he knew people who swore by it. I agreed that “Story” was an easy title to remember and said I could probably look it up on Amazon.

“The writers’ conference is right over the bridge,” I said, pointing with my fork. “Maybe next year you could go.”

He started shaking his head. “Nope. Nope, can’t do it.” He made a swinging gesture with his arms, embracing the restaurant. “Can’t do it.”

I nodded and took a bite of French toast. The outside was crispy and the interior soft, and it had soaked up just enough maple syrup.

He said, “People who can talk your ear off—like you–people like that, we’re important. The world needs us, needs the people who can talk.”

I swallowed, took a sip of coffee. I didn’t have anything to say.

I ate about half of the French toast. It was delicious, and I was stuffed, and starting to quiver from the intake of real coffee. I watched a white fishing boat pull up alongside, tried to take a picture through the slatted fence, gave up, and settled my bill. I wanted to leave a good tip, but I didn’t want to seem condescending, especially since the woman hadn’t really smiled at my compliment to her artwork. So I did some arithmetic and came down in the area of “rube,” “mark” or even “math-challenged” rather than “stuck-up city folk.” I hoped.

Outside, transparent blue smoke snaked around the chimney-head of the wood stove, diluting itself in the silver fog. I backed out slowly, thinking. I thought about Arizona, and the Mendocino coast. I thought about drugs and politics, and what a strange yet natural combination that was. I thought about the conference I had just left, and showing not telling, and writing in scene and using dialogue and how unusual it was that, at the end of the conference, some random person would suggest a book called Story.

The world needs us; the people who can talk.

Fort Bragg Raven

August 1st, 2010 by Marion

Dandelion Clock

July 29th, 2010 by Marion

Woman Warrior

July 28th, 2010 by Marion

The Girl Who Kicked the Hornet’s Nest; Stieg Larsson, Knopf,2010

The Girl Who Kicked the Hornet’s Nest is, when all’s said and done, a paper chase, but it is still hold-your-breath exciting.  Part of this is because Stieg Larrson invites us to root for the underdog, to join his characters vicariously in their fight for justice, but also because by book three we care about his characters, especially the strange, anti-social, violent and deeply vulnerable Lizbeth Salander.

 This is the last book Larrson completed before his death and some call the three together the Millennium Trilogy.  Rumors continue to surface about an incomplete 4th book (he planned a series of ten) or an outline and sample chapters.  This will keep the Internet chattering and helps maintain Larrson’s mystique, but what we actually have are these three.  Certain themes and clues in Hornet’s Nest, such as Salander’s missing sister and Blomqvist’s new love interest, give us some ideas about where Larrson was headed, but these are mostly grace notes in this book.  

As the story opens, Salander is the most vulnerable we have ever seen her; fighting for her life in a locked ward of a hospital, a few yards down the hall from her murderous father who put a bullet in her head and buried her alive.  As the story progresses, Salander’s jeopardy becomes, if possible, even more dire.  Arrayed against her is a cadre of Cold-War-inspired secret police operatives, a shadow government, basically, corrupted by their own arrogance and willing to do anything to retain their power.  Fighting them; Salander, recovering from brain surgery; Mikael Blomqvist and the staff of Millennium Magazine; Blomqvist’s sister, an attorney; a retired children’s advocate weakened by a severe stroke; and the anarchist citizens of Hacker Republic.  At risk is not merely Salander’s life, but her autonomy and freedom.  

The book abounds with official secrets, outright lies, doubled identities and falsified reports.

 A subplot involving Blomqvist’s business partner Berger and the psychopath who is harassing her slows the action somewhat.  Berger is facing a battle of her own, as she tries to turn around the big-name-daily paper that hired her as managing editor.  This struggle against an ossified patriarchal system would have been enough of a B storyline, but again, it seems that Larsson had plans for future books and some groundwork was being laid here. 

Each section opens with a quotation about women warriors and Amazons.  The point seems to be that regardless of whether Amazons themselves existed, there have been women soldiers since there have been wars.  Salander, in the first two books, has been practically an Amazon herself; more, an amine or manga super-heroine.  At just over five feet tall, weighing less than 100 pounds, Salander can fight her way out of any situation.  She can out-think, out-remember and out-hack anyone.  With a bullet in her brain, she can dig her way out of a grave.  In
The Girl Who Played With Fire, we learned some of Salander’s background.Now we see the price Salander has paid for her avenger status.  We knew Salander had been dealt a bad hand, and in Hornet’s Nest we discover the details.  Whatever genetic or neurological predispositions Salander might have for some of her behaviors, ultimately it is the shadow-government spooks, putting her needs second to their careers, who made her what she is. 

Salander faces the world with her shield up and her weapons drawn.  Since childhood, the people who were supposed to help Salander, parents, doctors, police and the government, have lied to her and betrayed her. In the egalitarian universe of the Hacker Republic, where favors are currency, she has no trouble with quid pro quo, but in the living world, in this book, she is forced to rely on people, to accept their help and to trust them.  This is torture for Salander.  Part of the reason for the Berger-psycho storyline is to give Salander a way to reach out to Berger, a person she has distrusted. 

The suspense mounts because Salander has put her trust in others.  They won’t betray her, but will they let her down? Are the governmental forces arrayed against them too powerful? 

At the end of the book, the resolution is more personal.  Salander  is still standing.  She must reach out to Blomqvist.  Finally, cautiously, she lowers her shield.