Received as Goodreads Giveaway, Hardback edition.
The Devil’s Dictionary, by Steven Kotler is a well-paced, mystery thriller involving a cast of characters over several geographic localities. The mystery begins with an unexplained torture-by-taxidermy of alleged and famous “empath detective” Lion; the mysterious death of his associate empaths; and the disappearance of his ex-girlfriend, Penelope. Incorporating the high concept of ecological “Mega Links”, the thriller mixes in killer-robot polar bears, friendly hyenas, and possibly gene spliced venomous snakes.
And that doesn’t even cover it.
Searching for clues, Lion bounds from scene to scene, coincidentally running into people he knows, finding answers to the bigger mystery involving a billionaire villain who's behind a plot to manipulate animals for evil (anti-human) ends.
As the reader, we really don’t know where the story is headed. The plot rolls-out scene by scene all the way to the end. The dystopian, blade-runneresque beginning starts with Lion’s torture but he doesn’t understand the motive and neither do we. His missing ex-girlfriend, who may or may not be dead might have answers that encompasses bigger mysteries surrounding the ecological “Mega Links” and The Devil’s Dictionary. (An AI program that can genetically splice any combinations of genes, capable of creating Frankenstein animals possibly ending human life on the planet.)
But the story doesn’t go there. Instead it stays within the confines of Lion’s search for clues to find the woman he likely doesn’t realize, he loves. In fact, this would be a love story, had it illuminated the relationship between Lion and Penelope, but it chooses not to go there either.
The imagery is vivid and much of it is homage to familiar classics like Do Androids Dream of Electric Sheep’s futuristic anomalous cars and dystopian urban scenes; Clockwork Orange’s creepy eye clamps, and the drug fueled antics of Living and Loathing in Los Vegas, to name a few. Yeah, there are lots of illicit drugs in the first few chapters, so if that’s a hard pill to swallow, then this isn’t your story. :)
We follow Lion from London to Los Angeles to Seattle to Lake Tahoe to New York, picking up clues and characters along the way. But somewhere between Seattle and Nevada, the story loses it’s blade runner vibe, vanishing completely, never to revive. The mountains of Tahoe are completely devoid of people apart from the core actors. The gritty, urban, dystopian scenery of before is now covered with a blanket of white, flying-snake-egg-hatching snow.
The plot felt a little pushed at times, where I was left wondering how all the loose ends would come together. I was asking questions at the wrong time rather than having the story build in suspense. But even so, as the story moved along, I quit asking questions and just went along for the ride.
And at times the plot felt a bit too convenient. While in London, Lion tracks a rare camera (that was used to document his torture) to a rental company in LA where he finds Carlos, a repair clerk who “happens to be the nephew of a high end jeweler that Lion knows in new York”. It isn’t until later that we learn the vintage camera is really rare; there are only six. So it feels a bit too convenient that this one rental company would deliver a camera transcontinental overseas to London. Coincidences do happen but it feels like there are too many.
The most important relationship on display is between protagonist, Lion and antagonist Jenka since this produces the most dialogue throughout the story. It’s Jenka’s accent that helps to make these characters so prominent. Speaking in stilted and stopped sentences, it’s easy for the reader to fill-in the voice. There are no connector or helper words. But because this works so well when it is working, it’s also glaring when the language falters.
This is really nit-picky, but here are some examples where the (fake) Moldavian accent could be more consistent:
Jenka p. 107
“Two tunnels. One is
a
local habitat corridor.
The
second is
a
regional corridor … Also … There is
a
bar for skiers near
the
entrance … Ten days ago,
that
bar
was
last place anyone
saw
(see) her…
Under sunny skies communication
is
shaky, In storm? … When she (not)
didn’t
check in …”
Jenka, a Moldavian fixer (this is as much as we will learn) is either saving Lion, informing him about something important, or ushering Lion from one adventure to the next. Their chemistry is funny, in part for Jenka’s dry Moldavian sense of humor and his lack of tolerance, that contrasts with Lion’s go-along-to-get-along good nature, who in return barely tolerates Jenka.
Many of characters are one-off. Their only mission is to kick the plot down the road. And sometimes the plot is missing altogether. Lion is off collecting clues, but the clues don’t really help the reader stay engaged. At time the clues feel more like devices. But nonetheless, this isn’t a deal breaker.
While I have not read Kolter’s first book, Last Tango in Cyberspace, the jacket review mentions Dirk Gently’s Holistic Detective Agency, Philip K. Dick, Octavia Butler, and Robert J. Sawyer, so it might be valid to expect The Devil’s Dictionary to be similar. And though I searched, I couldn’t find Dirk nor PKD anywhere. That’s fine, they don’t have to be here. It just piques my interest to find out what's in the first book. Not finding them wouldn't dissuade me from reading The Devil’s Dictionary.
While the book references influences like Richard Manning, Dr. Michael Mannino, and Dr. Andrew Hessel by name, other influences are only hinted at through association.
Early on the book name drops the Long Now Foundation and mentions rewilding, referring to the term Mega-Linkage. Not being familiar with rewilding nor the concept of mega linkages, I turned to the internet to discover that Steve Forman, cofounder of Earth First, had coined the word rewilding and after leaving Earth First, founded the Rewilding Institute.
In addition, Stewart Brand who wrote the Whole Earth Catalog made famous in the 1970’s, cofounded The Long Now Foundation.
So it could be said that the foundation for The Devil’s Dictionary was built from works by Aldo Leopold's, Sand County Almanac, and Edward Abbey's, The Monkey Wrench Gang,. Authors that certainly Steve Forman and Stewart Brand would be intimately familiar. I would have found it helpful to have this connection more direct within the story, rather than let it be found. It would have helped reinforce and provide the link to the real-life founders of ecological movements, both past and present.
Throughout the book, Sir Richard is mentioned as one of the main characters (though he plays a minor role, often appearing as a small hologram) and I forever see him as Sir Richard Branson. The book doesn’t directly allude to this coincidence, so maybe there is nothing there. As far as I can determine, Sir Richard Branson has not been significantly involved in ecological issues beyond the larger issue of Climate Change. So maybe this is a loose homage, however I found the use of his name distracting beyond madness.
Though Lion is a famous empath there is very little in the way of him illustrating his powers. There are some mentions, but no real demonstrations aside from him interrelating with a parrot, some hyenas, and a failed attempt on three robot polar bears. Which leads to one last point, the title.
As it turns out, The Devil’s Dictionary is a computer program designed to calculate infinite arrays of genes for genetic splicing. It is merely mentioned halfway through, but we never see it in action. Only toward the end do we meet evil billionaire Chang Zee, to understand his motivation and use of the technology, but there are no armies of Frankenstein animals as I had hoped to find. Invariably, the title wasn't about the book I'd just read. The book was telling a much larger story.
The story is a great escape for those looking to devour a good book and dive into a world of mystery, trusting it will all get tied up in the end. And it does tie up some of the characters who remain missing up until the last few chapters. Though the real meat of the message is saved for the end, where Richard Manning pontificates over two lengthy paragraphs on humans' impact on the biome, and how we're ruining the planet by consuming more than our share.
And though I agree with the sentiment, the ending felt cold and out of place. The fun parts had run out, leaving only a harsh message about our predicament, one that most everyone I suspect, is already tragically and woefully aware.