
I hated this
book. For terrible writing, complete
lack of plot and about as much character development as the average installment
of Penthouse Forum, I give Laurell K. Hamilton's latest novel Blood Noir an "F."
I'd give it a lower grade if I could.
I'm operating off of more, here, than residual feelings of
betrayal. For a long time, Laurell K.
Hamilton was one of my favorite authors.
She gave us a strong female protagonist who had interesting adventures. Although vulnerable, she was never a slave to
her emotions. Part fantasy, part thriller,
part murder mystery, these books were something different. It discouraged me, when Hamilton started
writing soft-core porn. For awhile, she
at least maintained some degree of integrity; her characters had adventures in
between bouts of kinky sex. Eventually,
though, those adventures grew less and less frequent, until they finally
disappeared. I thought her last
installment, The Harlequin, was bad--Hamilton wasted about 400 pages to describe
Anita Blake and her boyfriends going to a Cirque du Soleil type of event. Well, heck, in comparison, that was the best
book ever.
No, what
really bothers me is, Hamilton can write.
I know she can.
Frustratingly, no
one believes me--with good reason!
I'm
told that there are two kinds of writers, those who write for other people, and
those who write for themselves.
The
former are successful; the latter are artists.
I suppose because I'm one of the former, I disagree!
As Thomas Hardy, Daphne Du Maurier and F.
Scott Fitzgerald prove, it's possible to be both.
The point of writing is to share something,
no?
These days, Hamilton writes for
herself.
Her books are more cathartic
than self indulgent; if I had to guess, then I'd venture this series is
something of a personal exorcism.
Her
demons, her insecurities, are evident in Anita, her problems in her various
relationships are evident in Anita's various boyfriends.
I'm certain that, underneath their thinly
applied little veneers, these are all real people in her real life.
The problem is, reading someone else's
journal just isn't that interesting; the average journal lacks plot, cohesion
or character development, and tends to be morbidly repetitive.
In
Blood
Noir--a completely pointless title--Anita accompanies Jason, Jean Claude's
pomme
de sang, home to say goodbye to his dying father.
Said father is, conveniently, an evil bastard
who assumes that Jason, because of his effeminate good looks and success with
the ladies, is gay.
Bizarrely, he
refuses to admit the possibility that Jason is, in fact, straight; what
dramatic tension there is, in this sad excuse for a book, revolves around
Jason's attempts to convince his father that he's straight.
Aside from being boring, this "plot" is sort
of offensive.
It suggests that there's
something wrong with being gay.
Of
course, Jason's old classmate, who happens to look like his identical twin,
just happens to be in town for his wedding on the same weekend!
Wow, what a coincidence!
Sadly, poor Jason can't devote all his time
to encouraging his father's homophobia; he has to field questions from
reporters who think he's his old classmate.
Lots of comfort sex ensues.
Yes, that's
it.
Of course, in the end, Jason's
father gets better--Hamilton actually uses the phrase "Hallmark moment" without
a trace of irony--and everyone goes home.
I'd like to say that Anita makes progress in her personal life, or at
least with her own issues, but, of course, she doesn't.
I'd like to say that something else happens
in this book, but, of course, it doesn't.
Oh,
wait!
Richard shows up for some angry
sex.
Jason reveals that he broke up with
his girlfriend because she didn't want him to have sex with other women, and
that was really heartbreaking for him.
Personally,
I have a real issue with people who act like monogamy is somehow "passé", and
women--it's always women, have you noticed?--who want it are nothing more than
backward thinking, controlling bitches.
Again, I think this has more to do with Hamilton's inability to directly
address the problems in her personal life--colorful as it apparently is--than
with any genuine effort at storytelling.
Since no one dies, nothing bad--or good--happens and nothing is resolved,
there's really no point to it.
Right at the
end of the book, it turns out that Jason's old classmate, who is also his long
lost cousin, has run off to Las Vegas to marry a vampire.
Do we learn why, or how?
Of course not.
This is the only event in the whole book that
has even the slightest potential to develop into a real plot.
Oh, well.
I guess we wouldn't want to miss a single moment of meaningless sex.
Honestly,
don't bother.
If you're a Hamilton fan
at all, then this book will just depress you.
If you're new to her work, then by all means, avoid it.
Whatever momentary high you old time readers
think they might get by revisiting old characters, almost friends by now,
you're not going to experience.
Take it
from someone who actually managed to enjoy her more recent books, and who reads
a lot of stupid urban fantasy with absolutely no redeeming potential whatsoever,
this book is about as thrilling as a hernia.
I've had a better time, and felt more intellectually engaged, reading
catalogue copy, watching my cat lick himself, or removing splinters from my
foot.
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