When I was
stuck in the airport the day before Thanksgiving, I ran out of reading material and had to buy a book at the airport gift shop. They had the usual selection of bestsellers, and I selected
Seizure, by Robin Cook, having enjoyed his medical thrillers years ago. I'm not sure whether my tastes changed or it's just that he evidently decided a successful writer no longer needs an editor, but this book sucked.
Disappointed at having wasted $7.99 on a book that was so bad it was less enticing than watching the same 50 other people at the gate who hadn't moved in hours or trying to nap in an airport chair despite not being sleepy, I realized that I could salvage the experience by reading the book for humor value and fodder for a scathing review. So I turned down the corners of every page that had something particularly awful. The top right corner of the book is now noticeably fatter than the rest.
The book begins thus:
Monday, February 22, 2001, was one of those surprisingly warm midwinter days that falsely prophesied the arrival of spring to the inhabitants of the Atlantic seaboard. The sun was bright all the way from Maine to the tip of the Florida Keys, providing a temperature variation astonishingly less than twenty degrees Fahrenheit. It was to be a normal, happy day for the vast majority of people living within this lengthy littoral, although for two exceptional individuals, it was to be the start of a series of events that would ultimately cause their lives to tragically intersect.
It doesn't get any better. The book is full of middling attempts at establishing setting, distractingly odd word choices ("astonishingly less than twenty degrees"? does that even parse?), and heavy-handed portentous wording. Thankfully, he does not continue in the habit of searching the thesaurus to allow for alliteration ("lengthy littoral"? please).
The story is partially set in DC, and it would appear that Robin Cook once had a bad experience with a non-native taxi driver. In the first chapter,
Daniel had never liked riding in taxis. It seemed the height of ridiculousness to trust one's life to a total stranger who more often than not hailed from a distant Third World country and frequently was more interested in talking on his cell phone than paying attention to driving. Sitting in the middle of M Street in the darkness with rush-hour traffic whizzing by on both sides and the driver carrying on emotionally in an unknown language was a case in point.
Two chapters later, the protagonists enter a cab and notice that
[The cabdriver] was wearing a turban and was as tan as if he'd just spent a week in the Sahara Desert.
And in Chapter 6,
Following an even more hair-raising taxi experience than those in Washington, as far as Daniel was concerned, with a driver from Pakistan in a rattletrap vehicle, they were dumped off at Daniel's condominium.... [ed: "rattletrap vehicle"? why not "rattletrap Ford Tempo"? Cook's habit of excessive description makes his occasional and inexplicable use of overly-generic words almost jarring.
Evidently Cook's energy for description-writing is limited, given the profusion of what appear to be copy-pasted descriptions.
Thanks to power steering, Tony only needed the index finger of his right hand to turn the steering wheel of his black Cadillac DeVille. ... The distinctive crunching sound of the car tires on gravel drowned out his radio as he entered the parking area in front of the Castigliano Brothers Plumbing Supply building. ...
Tony came to a stop next to three vehicles similar to his own: All of them were Cadillacs, and all of them were black. He flicked his cigarette into a pile of rusting sinks and killed the engine. As he got out of the car, he was assaulted by the odor of the salt marsh. It wasn't pleasant. With night rapidly approaching, the wind had shifted to the east.
Sixty pages later,
The big Cadillac crunched over the gravel and came to a half in front of the Castigliano Brothers Plumbing Supply store. ... Tony opened the door and was assaulted by the putrid smell of the salt marsh. He couldn't understand how anyone could hang around a place where every time the wind changed direction, it smelled like rotten eggs. It was a moonless night, and Tony walked carefully. He didn't want to trip over a discarded sink or any other debris.
And after another seventy pages,
In truth, Tony was mostly pissed that he had to forsake a nice lunch, which was one of the high points of his day, while he made yet another visit to the freaking Castigliano brothers' crummy plumbing supply store. The rotten-egg smell of the salt marsh didn't help matters either... At least it was easier visiting the stinkhole in the middle of the day rather than at night, since he didn't have to worry about tripping over any of the crap littered around the front of the place.
Referring back to previous descriptions could be a tactic to give the story a cohesive feel (and it works all right with the third quote). However, the deja vu effect here makes me think Cook wrote two versions of this description and couldn't decide which one to use, so he put them both in. (Also, yes, this book has mobsters.)
Cook follows the typical thriller convention of giving each chapter a dateline. But he doesn't seem to understand that the action should generally start at the specified time. Chapter 6 is labeled "2:35 PM, Friday, February 22, 2002." But he takes two pages of clunky past-perfect tense to bring the protagonists to that point. Verb emphasis is mine.
By the time Stephanie had awakened early that morning, she was caught up in the details of the Butler project. ... Even before she had showered, she used her laptop to fire off a series of emails....
Daniel too was ebullient from the moment he'd thrown back the covers. He too was at his laptop, emailing before doing anything else. Dressed only in a hotel terry-cloth robe, he typed out a message to the West Coast venture capital group that had expressed interest.... Daniel had not expected a message back from the prospective investors for several hours, since it was only four in the morning on the West Coast when his message went out on the World Wide Web. [ed: Note that most people would write "Daniel had not expected X" when planning to follow it up with something along the lines of "But X happened anyway." Not so here! We indeed don't hear from the investors until afternoon. He apparently means "Daniel did not expect X" but thinks he needs to use "had" to be consistent with the past perfect tense. Why consistency is suddenly important here is unclear.]
As a splurge, they had ordered breakfast in the room. ... At nine-fifteen, both had been surprised by a call from the concierge's desk.... They were asked if they wanted it sent directly to the room, and they had responded in the affirmative.
...[T]hey had managed to catch a ten-thirty shuttle flight to Boston, getting them into Logan Airport just after noon. Following an even more hair-raising taxi experience than those in Washington, as far as Daniel was concerned, with a driver from Pakistan in a rattletrap vehicle, they were dumped off at Daniel's condominium. A change of clothes and a quick lunch followed by a ride in Daniel's Ford Focus [ed: NOW he specifies the car!] brought them to CURE's current digs. They entered through the front door...
When Daniel had first founded CURE... [historical description here] [ed: note that this is past perfect again, but deployed appropriately to describe things that happened before our story began.]
"It's only two-thirty-five," Stephanie announced, after closing the door behind them.
And that brings us up to the dateline at the start of the chapter. Wouldn't it have been much easier to just dateline the chapter at 6:30 AM, when the action actually began, and avoid two pages of verb-tense struggle?
The word choices are pretty distracting.
What about the New England Journal of Medicine?" Paul suggested. "That would be a coup for the clinic! I'd love to get something into that highfalutin publication."
I don't think I've ever met anyone who could use "coup" and "highfalutin" in successive sentences.
"It's hard to believe we'll be in Nassau by late this afternoon," Daniel said....
"What I find difficult to comprehend is that we'll be going from winter to summer in a single day. It seems like ages since I've been in a pair of shorts and a summer top. I'm psyched."
In three sentences, we go from stuffy to normal to slangy. I don't think I'd use "difficult to comprehend" and "psyched" in the same conversation. Clearly, he didn't want to write "hard to believe" again, so consulted the trusty thesaurus for an alternative.
Then there's the ridiculously overwrought wording:
"It's been one thing after another from that fateful, rainy night in Washington until now. I keep asking myself what else can go wrong."
"fateful"??And just plain wrong words:
"With his procedure behind him, Ashley was ostensibly euphoric, carrying on an animated conversation with Carol..."
I do not think that word means what Cook thinks it means.
Cook apparently doesn't understand "show, don't tell." Sometimes it's "show AND tell":
"Can you imagine?" Paul blurted. "We're going to have a paper in the New England Journal of Medicine!" He threw himself into a chair facing Spencer's desk and punched the air with upraised fists like he'd just won a stage of the Tour de France. "And what a paper.... It's going to be fantastic! People will be beating a path to our door!"
... Paul was a hard worker with vision, but he could be overly enthusiastic. [ed: overly enthusiastic? You don't say!]
And sometimes it's "show by having the characters tell":
"Neither of us seems particularly hungry, and we're both stressed. Why don't we take a moonlit stroll through the hotel's formal garden and visit that medieval cloister we saw from a distance on our walk our first morning here. We were both curious about it, and it would be awfully appropriate. In the middle ages, cloisters were shelters from the turmoil of the real world." [ed: as this hotel is located in the Caribbean, I'm not sure how the cloister is "medieval."]
or:
Paul stood up. "I'll get Kurt Hermann, our security chief, right on it. He loves this kind of assignment."
"Tell the dishonorably discharged Green Beret, or whatever the hell he was, to kill as few people as possible."
See, that's a situation where telling would have been more appropriate and contributed to the flow of the story.
It's possible to make good use of contrast to facilitate a description, but I don't think this is the way to do it:
Michael sat down. In contrast to the monsignors, he was dressed in his usual simple black suit with a white clerical collar. Also in contrast to the others, who were both considerably corpulent [ed: It's unusual to use "considerably" to modify an adjective in this way. Normally you see it preceding a comparison, as in "considerably more corpulent than he."], Michael was rail-thin, and with his hooked nose, his features were more stereotypically Italian than his hosts. His red hair also set him apart, since the others were both gray.
Possibly the most distracting part of this book was the use of foreshadowing that goes nowhere.
"Paul Saunders is unique. I've never seen anyone with two different-colored irises."
"He has an eponymous genetic syndrome," Daniel explained. It's fairly rare, if I recall correctly, but I don't recall its name. It was one of those arcane diseases that would occasionally get tossed out during internal medicine rounds."
"A hereditary disease!" Stephanie remarked... "Does this syndrome have any serious health consequences?"
"I can't remember," Daniel admitted.
Saunders is one of the people running a sketchy fertility clinic whose source of human embryos is unclear. On reading this, I was sure that either Saunders was going to become ill from his genetic disease, or the babies would come out with different-colored eyes, showing that he was the male source of genetic material.
Wrong! Neither the syndrome nor any of its possible results is ever mentioned again. (It does, however, turn out that Saunders is providing sperm. Perhaps Cook planned to use my prediction, but had to take it out, and forgot to remove the foreshadowing?)
Incidentally, "eponymous" means "named after a person." I'm not sure why this is relevant, given that said person is neither Saunders nor anyone else in the story. It might have made sense to say "it's one of those arcane diseases named after some scientist" but not "eponymous genetic syndrome" by itself.
This book should be given to every aspiring writer of best-sellers to show them what happens when you fire the editor. It was so badly written that I couldn't concentrate on the story, and a decent editor could have made a huge difference. It wouldn't have improved the plot, of course (it has cloning, the Shroud of Turin and attendant Catholic intrigue, and mobsters), but I can only ask for so much.
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